#but i don't mind because it's a fair question!

[the-warlock-syndicate]

What is the purpose of a sex scene? Well on a completely literal level, it is to depict a character having sex. And if you only watch films on a completely literal level with no nuance or examination, I expect sex scenes would be as pointless as eating or sleeping.

It is an interesting question though. Departing from that framing, sex scenes can convey an awfully large range of themes and messages. But, the more interesting piece of the question, which I think you are right to contribute, is where exactly do we think the messages effectiveness is enhanced by a full sex scene rather than fade to black?

I remember Oppenheimer in theaters, and thinking that the sex scene was overdone. I don't quite recall how explict it was, but it seemed over the top, and exposing a historical event which gave insight to his character was not really added to by drawing it out.

On the other hand, there are movies and shows where the full explicit sex scene is narratively important. This is not to suggest anything about the writing chops of the directors, but rather that the plot, the way it is arranged, benefits more from an explicit sex scene than fade to black.

Horror films in general, and Jason in particular, make a lot more sense to have explicit sex scenes. They are generally operating off an old fashioned puritan idea of sexuality, and the logic of the movie is that the characters brought it upon themselves for being so slutty. Which is why the virginal good girl ends up living. The sex scene is important for the message, as something for the movie to rail against. Sure, leaving things ambiguous might have implied the teens were fucking, but that is pretty weak when the subtext is that extra-marital sex is bad. Its like a movie with an anti-drug subtext, but the main character who looks like a stoner is never actually depicted lighting up.

Since Netflix is on my mind, let's talk about a couple animated shows. I've joked with friends that a lot of Netflix shows have a 'Netflix Syndrome', which I use to mean that a somewhat more lax approach to what gets greenlit means a corresponding increase in blood, murder and sex, because it is perceived to be allowed. Particularly with 'adult animation', which needs to prove to its audience that it can be a cool and grownup artistic medium, and swings the pendulum a bit far in the other direction of edginess by overcompensating.

The two shows that spring to mind here are Castlevania, and Blue-Eye Samurai. Now, Castlevania, while I did enjoy it, I think does swing heavily into the Netflix Syndrome arena. Edgy for the sake of differentiating from children's shows, to the point where it feels like overcompensating out of insecurity. There are a fair couple sexy scenes that I think were unnecessary, with fade to black being better options. Also grimderp plot twists lmao. But I do think that one of the biggest sex scenes, Alucard in the BDSM threesome, had its message enhanced by the explicit nature. Spoiler alert, Alucard is lost and directionless, opens his heart and his home to strangers to make friends. One thing leads to another, they are all in bed together, in what should be a culminating moment for him to get out of his depressive funk, see the light and joy in the world, and open up. And when he is at his most vulnerable, being tied up in a particularly kinky threesome, they betray and try to murder him, and he tries to murder them back. Now, there are other ways to write a story in which one gets betrayed while vulnerable. But if you are going to have a sex scene, the scene is better served by going through with the whole thing, instead of fade to black, which deeply weakens the impact.

Blue-Eye Samurai has a couple of sex scenes, which I think work, because the titular character has a lot to work through with regards to her sexuality. Between not being comfortable with female norms and behaviors in a still very male dominated society, crossdressing as a man 90% of the time, and having a particularly odd relationship with her sexuality as an object of desire, owing to her mixed race Japanese-European status which has people see her as a hideous abomination or 'exotic' beauty, full sex scenes exploring these dynamics I think are warranted. Particularly the one with spoiler again, her husband, and the feeling that she could reclaim a degree of femininity in being desired sexually, before being betrayed for her masculine qualities.

I'm not the biggest film buff, so I struggle to name more movies, because there are truly an abundance of movies with no sex whatsoever, and the ones with sex do utilize a lot of fade to black themselves.

"sex scenes have no narrative purpose" is such a funny take on so many levels. people will really believe that the whole human experience is valuable to portray artistically except sex, which of course has never held emotional weight or significance for anybody

[wannaeatramyeon]

Lookism Guys Listening to You Ramble

G/N. Just something light hearted. Masterlists

"Sorry," you say, looking sheepish.

You must have talked nonstop for the last ten minutes. Not that he's complained much about it. Nevertheless, when it's something you're particularly passionate about, you can't help yourself. It's a habit you're trying to break out of.

"I was rambling again, right?"

.

.

Ryuhei continues looking at you like the lovestruck fool that he is.

Fact is, he tuned out when you were only a few sentences in, preferring to bathe in the melody of your voice, bask in the centre of your attention instead. He looks at your pretty face and your full lips and he's just grateful to be here.

.

.

Goo grins, "Yep, but don't stop sweetheart."

He's self aware enough to know that he absolutely loves the sound of his own voice and you have done your own fair share of listening. It's the least he can do. Besides, seeing you light up when you talk about something you're passionate about is absolutely adorable.

.

.

"Yes," Gun deadpans, face blank but eyes soft. "I don't mind."

He's never felt the urge to tell you to shut up. To be honest, ramblings that would have started a headache from anyone else, he can't get enough of when it's from you. He's so used to the silence when on his own that your voice is a welcome reminder of your company.

.

.

Vin peeks at you over his sunglasses and shrugs. "I stopped listening ages ago."

You huff a little even if you did apologise, because what a rude asshole. And you don't hesitate to tell him so.

But beneath the facade, he has taken every word to heart and when he later asks a question so specific to a throwaway sentence during your ramble, you can't help smiling at how closely he was listening.

.

.

"Yeah," Jake pulls you close and kisses you sweetly on the forehead, " but I like it."

He will happily listen to you talk about anything. It's a nice break from some of the troubles of Big Deal, reminding him that the world is bigger than his bubble and as a bonus, you're cute as hell especially talking about your latest interest.

.

.

"It's fine," Johan mutters, tips of his ears pink.

He has no problem telling most people to shut the hell up but he can never bring himself to be mean to you. Besides, you know he's telling the truth. He listens, face soft and content, not even realising he's wearing a small smile for you.

.

.

Samuel rolls his eyes and pulls you into his lap.

He's a great listener. Honed after years of working in the corporate world, listening to far more dull and boring people. Whatever you say is infinitely more interesting.

Samuel tells you this, arms wrapped around you and face nuzzling into your neck.

[nqueso-emergency]

Listen to me.

Lou didn't "Burn a bridge" by doing that interview. He didn't insult the writers, he didn't insult Tim. He said he was unsatisfied by the breakup. And fair because so do we. So does the GA. He even said "That is indicative that Tommy is not shipped away to another place, but he is still around in mind." About the bubbling situation. So, he sees what they're, possibly, hinting at.

Oliver answered a Buddie question because that's what the interviewer asked about. He hardly EVER gets bucktommy questions, and if he does, what can he say??

They don't even know what's happening in 8b. That man knows that if he says something hopeful about bucktommy he will be attacked as long as the future is uncertain or his words will turn into a gotcha in this stupid fucking ship war.

Is it right? No. But playing Buck how he's written is his job. And it's not his place to jump in and defend anyone. Just like when he said that he can only speak on Buck's side.

I love Buck, but I could care less about Oliver's personal shit.

[agalychnisspranneusroseus]

I don't like complaining about S3 too much, it's kind of a bummer to focus on what I don't like when there's so much I love, but one thing that I can't help but feel disappointed by is how we never got to see the new Marcy.

We got to see the new Sasha all through S3, who is completely different from S1 and S2 Sasha, and she's such a wonderful and loveable person, you can't help but adore her. Peak girlfriend material. It makes her oddly homoerotic friendship with Anne so sweet! And Anne herself, as the literal star of the show, had her development front and center from day 1. All of S1 was about her growth, and while she still had some work to do in S2, by then she had already changed a lot. Much like Sasha, she goes from being a selfish little shit to becoming a noble, honorable young woman, driven by love and responsability, with the emotional intelligence necessary to face any challenges coming her way.

Marcy... doesn't get that chance. The content of her arc is fine - she realizes she was selfish and self-centered, she understands how that's wrong and she decides to be a better person. But when Sasha (and I'm comparing her to Sasha because Anne, as THE protagonist, is not a fair comparison) had like... all of season 2 to change and develop, and half of S3 to truly shine as her new, improved self, Marcy... well, she did get some development in S2, true - the First Temple and New Wartwood are important moments that come to mind, but...

Okay, so, we knew everything about Sasha's situation from the start. She's lying to the other characters but not to the audience, so everything she goes through in Toadcatches, Barrel's Warhammer, the Dinner, Battle of the Bands and True Colors is very visible to us. We see her going up and down and we always understand what's up with her. We get a very clear view into her mind. We know Sasha. Marcy, on the other hand, has been lying to the audience up until True Colors, so everything we knew about her prior to that has to be recontextualized given the new information, and what we inevitably conclude is that nothing she learned was enough to make her question her plan. She understood the concepts, but she didn't apply it to her particular situation. That's not a bad thing! She's just halfway through her arc - accepting the Truth without letting go of the Lie. But when so much of her arc is hidden from the audience and further recontextualized through more flashbacks near the finale, what we get is a very mysterious Marcy who tells us "everything you thought you knew is more complicated that it seemed", and given that this is the season finale, that set-up inevitably promises a deeper exploration of the REAL Marcy in S3. No more scheeming and lying and manipulating, just Marcy in real time, with no need for flashbacks to recontextualize things again.

But S3 gives us very few chances to see Marcy in Real Time. We see her in Olivia and Yunan, All In and The Hardest Thing. Three episodes. I'm not gonna complain about that because I think we all feel the same way. There's no need. But I will insist that a good solution would have been to have at least two or three episodes about Marcy inside the Core. The King and the Core should have been about Marcy uncovering that ancient information in Aldrich's memory without him noticing, for example. This would have been an improvement in several ways:

More Marcy screentime and development

More exploration on the nature of the Core

We have a present day character knowing all about the Box's lore, and it's not just Andrias randomly thinking about in with a vintage filter on.

Marcy having more agency inside the Core in general would have allowed her to fight back in some way, which would be necessary for another change I'd like to suggest below.

Other episodes could be about her "bonding" with Aldrich and slowly realizing he's delulu, her learning about some old Olm lore, and unlocking a secret that will help them later with like, Anne's powers or the Moon or something, and just... her thinking and realizing she fucked up. If the Core knows her memories, it could recreate a more prolongued scenario with Anne and Sasha, maybe a sleepover? In general, I think Marcy would need someone in there to bounce off of, whether it is a bad guy like Aldrich or lifeless projections of Anne and Sasha, or even someone in there that's actually on her side, sick of living forever in this fantasy, maybe.

She needs time to define her new, changed self after learning her lesson, just like Sasha got to do. Because we barely see who Marcy has become after the events of Amphibia. We got like... TWO scenes to tell us ANYTHING about it.

"No! Only a coward would hide away in this place! Well, I reject this sick fantasy, and I reject you!"

"Even if your friends win, your parents will still tear the three of you apart."

"I started this whole mess because I wanted to escape that reality, but I won't run away from it anymore!"

And later near the end:

"I came to this world thinking only of myself. It was wrong of me, and I wish I'd gotten to know you both better"

These are like... the only indicator of the person Marcy became in Amphibia. They're not worthless - she learned to be more aware of the people around her, and to be stronger in the face of change. Her final scene with Aldrich is her most confrontational scene in the show, and certainly her most angry one. Before, she'd only been like... mildly annoyed one time because Anne was being too overprotective, and she glared at Andrias for like two seconds during O&Y but didn't actually say anything. Marcy is not an angry person, and she does seem to be scared of conflict, so to slap Aldrich's hand away, call him a coward, and proudly raise her fist and declare she's done running makes her look much stronger, and I appreciate that. And she does pretty much declare she refuses to be a coward. But this isn't nearly enough. If I want to write fanfic about Marcy post-Amphibia, I shouldn't have to sit down to analyze these two moments to extrapolate what her characterization would have been like. It should be like with Sasha. We know exactly who the new Sasha is, but we never get to see the new Marcy shine. I think that's why her arc feels so rushed in comparison to Sasha, whose beginning of her arc arguably took up one 11 minutes episode, and the rest happened mostly off-screen: the new Sasha was radiant in S3B, even if we didn't see much of the transition.

I know that, due to structural reasons, Marcy wasn't going to have much screentime so they had to rush her arc quite a bit, and while my suggestion to give her more time inside the Core stands, I think that's not enough either. I think she needs time to interact with Anne and Sasha, and also King Andrias, her Amphibia friend. It's hard to think of a solution to this problem given the way the finale is structured, but my first idea is to make it longer: The Beginning of the End stays the same, All In stays the same except for the way Marcy is released: instead of just, cutting a cable, Sasha needs to reach her with the Power of Friendship. Think something like the Running Up That Hill scene from Stranger Things, or the Toothless Found scene from HTTYD2

Because we can't miss a chance to develop Sasha and Marcy's relationship here. AND since they both share the roles of the Betrayer, the Liar, the Manipulator, of Anne's toxic friend in the path of redemption, it's poetic that Sasha, who has held Marcy under her thumb for years, is the one to help her break free, not through brute force like in canon, but by actually putting into practice what she's learned. Kinda like how, in AtLA S3, Zuko is playing the role of group therapist to the rest of the Gaang. Sasha figured things out first, now she wants to help Marcy find redemption too. Make it a callback to Anne's little speech from TBOTE

"It's not easy. Forgiveness is hard, and it can take time. But believe me: it's worth it. I mean, just look at what you and I have now."

Because redemption isn't easy. It's hard, and it can take time. But you still need to show up, even when you think they don't want you, even when you think you ruined everything. Getting up to so the right thing is always worth it.

Of course, if we want Sasha to save Marcy, a little bit of previous development wouldn't hurt. What if we add a little episode in S3A about the girls all thinking about each other? Anne finding a copy of War of the Warlocks that Marcy forgot in her house, Sasha being reminded of Marcy while helping Maddie with curses for the resistance, and Marcy just... thinking about them, in general, while in the Core. A simple 11 minutes segment, 3 minutes and a half of screentime for each of them. You don't need much, just a moment for them to explore their conflicting feelings for each other.

But then... then, we still need to see Marcy - the new Marcy - interact with her friends, so let's add one or two more episodes to the finale, between All In and The Hardest Thing. Maybe we can shift the Olms storyline here? Would that mess with the pacing too much? Tbh the writers did put themselves in a predicament with Marcy, so it's hard to find a perfect solution. I guess we can keep the tension if the moon is falling veeeeeery slowly, giving our girls just enough time for one more quick adventure together while not making it feel like they're taking their sweet time. So we have one or two extra episodes, and what do we do here?

We challenge Marcy. Just like how Sasha was challenged in Commander Anne, Marcy has to prove she's changed too. Tempt her with her past self-centeredness, her possessive instincts, the easy way in which she lies to herself, her impulse to plan around Anne and Sasha and not with them, hiding important information. Her fear of change. She knows what she needs to do, and she's ready to sit with the uncomfortable feeling of change instead of rejecting it immediately. Maybe she has to let Joe Sparrow go, for example, to be with other sparrows or something, idk. Whatever it is, it needs to be an opportunity to show her newfound emotional maturity. Show how, just like Anne and Sasha before her, she became a more noble person, one who, from now on, is honest, selfless and brave. One who embraces change, and who may even seek it out, because she understands this is how you grow.

Anyway. Yeah, that. I guess I'm just disappointed we never got to see the person Marcy became, but at least it's not hard to extrapolate it from what little the show gave us. We're not 100% in the dark. Though it's not nearly enough. If they ever give us more Amphibia, it would be awesome to see more of this new Marcy, but until then, we have a beautiful community here of galaxy brained people to put the pieces together 🥰

[imogen-rhitt]

They were so close to each other it would take just a tiny movement to lean forward and close that final gap, but instead Imogen just blinked at them, smiling softly at their words. Maybe that was true but it felt like Theo had been taking care of her far longer than was their fair share. After all when they became friends it was Imogen's resolve to protect Theo, it was never meant to end up being the other way around. Except as they grew up, Theo just seemed to take on that role, and now Imogen didn't want to have to be without it - as selfish as that might be. "You know I'm always here to take care of you too, right? I mean I know I'm a dumpster fire of issues right now but that doesn't mean i'm not here for you." Probably the biggest understatement when it came to Imogen's current state of mind. 

"Of course she's smug, and she'll tell me as much when I speak to her tomorrow I'm sure." She didn't really mind, sometimes it could be annoying to have a mother who was so ... correct a lot of the time but mostly it just felt reassuring because she knew the woman only did it in order to look out for her daughter's best interests. Holding tightly onto their hand she nodded as best she could while laying on the pillow, giving it one squeeze. "Is it stupidly selfish to say I don't see a world where I would ever not need you? Because I'm pretty sure that's the truth. And I think I've done enough lying to you for a lifetime." 

When they went silent she did the same, leaving space for them to think, or talk if that's what they wanted - lord knows she'd been doing enough taking herself. The silence was comfortable, probably the most content Imogen could remember being for a long time. Like someone had wrapped her in a fluffy blanket the rest of the world couldn't get through - it was what she always felt like with Theo when they were together. Finally she just whispered the one question on her mind. "Tell me what you're thinking?" @theoxkent

It had felt so wrong when her dad died and Theo wasn't there. It honestly felt like they were excluding a member of the family and it was something Imogen wrestled with a lot - laying awake most nights with her phone on her chest, fingers itching to call the other, but she never had. Instead she'd made the entirely rational decision to fly across the world to tell them in person, as if that wasn't a big enough indication of her current state she then proceeded to lie to them about what was going on. She'd made a huge mess, and now laying here in Theo's bed the whole thing was slowly unravelling. And she was glad, she was relieved to a degree. It felt a little easier to breathe with each confession she made to Theo - each lie she retracted, because they just didn't do that to each other, they didn't lie.

The soft chuckle was enough to have Imogen smiling softly again, it was such a welcome sound. It had her reaching out to brush her finger down their nose, a tender move, more intimate than she had done up until now, even with all the hugging, this touch was something different. "I'm sorry I asked her not to call you, I didn't...it wasn't a situation I knew how to handle very well and because of that I just pushed it away. Then when I decided I wanted to tell you in person I told her not to call you again...and then it took me some time to get here to you because of work. TThings I had to go to with Jack, like red carpets and stuff, he had a premier." The movie had been terrible, Imogen had to watch it three times because of the press tour being a way to show off his flashy new engagement and she hated every second of it. They wouldn't even let her wear her own designs, she'd had to be trussed up like a chicken in something his stylist gave her - thanks to him being contracted with Prada. The whole thing had been impossibly soulless. All the while she'd been trying not to have a breakdown over her dad's sudden death. It had only been a few weeks delay before she could get out here to Theo but it had felt like a lifetime.

Of course Sarah had asked Theo to keep an eye on Imogen, because that had always been their dynamic and her mother trusted them entirely. And Sarah Rhitt didn't trust easily, but once you had it, she would trust you for a lifetime as long as you didn't betray that trust. "I'm sorry she put that task on you, I'm thirty years old, I shouldn't need someone to look after me. I guess some things never change." But then they confirmed what she'd already known, her mum didn't want the wedding to go ahead, and it caused her to give a rueful smile. "Subtlety of a bulldozer that woman." A soft roll of her eyes as she sighed, making a mental note to call her in the morning to reassure her that she was in fact correct, again. That the wedding wouldn't be going "Well she'll be pleased to hear that it's off - and that I spent tonight here with you. Not spent the night with...but came to you...when I needed....yeah..." She trailed off, pressing her lips together to force herself into silence because otherwise she was just going to keep talking. Not that it would be the first time this evening. "Thank you for being here. I don't think I will ever have enough words to express how grateful I am for the way you've...treated me over this. It's more than I deserve. And I hope you know that I'm here for you too." And Imogen meant it with her entire heart, reaching over to lace her fingers together with Theo's carefully. Eyes trained on the motion. @theoxkent

[little-pup-pip]

Just curious, what requests do you have in your queue/to do currently? If you're ok with saying it that is :]

Oh boy, that's a bigger question than last time someone asked! I have over 200 waiting requests at this point!! Because of that this got very very long, so I put the rest under the cut! Like last time, this is in order of how recently I received the request, and doesn't mean I'm too busy to take new requests!!

Ibara saegusa (enstars)

Monochrome oranges cats and angels

Gloomy bear

Another rockruff (maybe)

Cult of the lamb (specifically the lamb)

Llewellyn Watts (Murdoch Mysteries)

Jake (trailer park warlock)

Cult of the lamb (pet dreaming themed)

Bear therian

Selkie

Ice bear (we bare bears)

Tubbo (maybe)

Snow leopard

Pink

Australian shepherd (pupre)

Cassie (fnaf: ruin)

Draik (neopets)

The rainbow fish

Black kitten + space

Pumpkin head (maybe, needs more research)

Alice in wonderland

Sheep

Someone's OC Avery & siblings

Gothic

Star catcher (MLP)

Masc version of my druid board

Scrooge CG (2009 film)

Beetlejuice

Superstar daycare (fnaf)

1950s + ocean

Pandas + light purple and black

Dandelions

Willy wonka CG (recent movie)

Maki Harukawa (Danganronpa)

Kidcore Halloween + pumpkin puppy Webkinz

Fruit bat

Mermaid

Pastel purple + pandas

Robocar Poli

Brown, lime green and forest green puppy

Weird Barbie CG

Shiny Vaporeon

Where the wild things are

Squid

Dylan (the magic roundabout)

Conner CG (Detroit become human)

Mitsuri kanroji (demon slayer)

Minecraft mooshrooms

Sharks or wolves (haven't decided)

Hot Wheels

Miffy

Fox

Sharks

Zombies

Vincent (dead plate)

Vintage kitty dreaming

Deadpool

Shane CG (stardew valley)

Wolf pup

Celestia and Luna (MLP)

Soft blue and yellow

Pascal (animal crossing)

Pastel blue and pink

Batman CG

Ram

Osamu dazai (bungo stray dogs)

Dylan (the quarry)

Rain/nature + white rabbits

Ox

Penguin + dinosaur

Noah (total drama island)

Vision CG (marvel)

Light blue

Bumble bees + lavender

Yellow + ducks

Bearded vulture

Barn owl

Queen barb (trolls world tour)

Oliver (vocaloid)

Light green light brown and beige

Mind (Chonny Jash/CCCC)

Cinnamoroll + emu otori (project sekai)

Yellow+ chicks and puppy stuffies

Seam CG (deltarune)

Plants vs zombies

Viktor (arcane)

Queen of trash CG (Elmo goes to grouch land)

John Constantine (Justice League Dark)

Aziraphale (good omens)

Scenecore

Musa (winx club)

Leap frog

Hyper feminine puppy

Crow + black cat

Totodile + bodies of water

Bees

Sackboy (Little Big Planet) and or My Melody

Baby crocodile

Animal crossing

Pastel kitten

Doki doki literature club

Keralis (Hermitcraft, maybe)

90s grunge

Tula tones (novi stars)

Eevee + dragons

Kitten + stars

Ratchet (rescue bot academy)

Pastel shark

Mikan Tsumiki (Danganronpa)

Mushrooms

Grey + Ross federman youtooz

Sparkly dragon

Blue and purple + puppies

Ducks + alt/Gothic lean

Cinnamoroll

Shadow (sonic)

Jellyfish

Boyfriend.xml (Friday night funkin')

Puppet (fnaf)

Golden retriever + yellow and blue

Bernese mountain dog

Strawberries

Genshin impact

Len or Miku

Toothless (httyd)

Eddworld

Donnie (rise of the tmnt)

The princess and the grilled cheese sandwich

Pastel goth princess

SpongeBob

Karako Pierot (hiveswap)

Young Michael Afton

Soft fox

Great pyrenees + farm

Ike eveland

Invader Zim + neon green

Julius Caesar (Octavian, night at the museum, waiting until March for this one)

Scorpion

Vampire squid

Golden retriever (again, lol)

Cats + playing outside

Border Collie

Tiger

Argos CG (World of Mr. Plant) 

Pochacco

Mortal Kombat

marble cross fox/forest/fantasy (I'm figuring this one out still)

Puppy + SpongeBob

characters from Project Sekai, Hoshino Ichika, Mochizuki Honami, Akiyama Mizuki and Kusanagi Nene.

Baby vulture

Frog with more fem themes

Rain world/slugcat

Dark academia/cottagecore

Border Collie

Modded smash hit rooms

Crying child (fnaf)

Agent Smith CG (the matrix)

Katamari

Enjolras (les miserable)

Rolfe DeWolfe CG (Rockafire Explosion)

Bugbo

Slime rancher

Puppet (fnaf)

CosMc's

Parado (Kamen Rider)

Tally hall

Gordon (all engines go)

Spinel (Steven universe)

Cater diamond (twisted wonderland)

Rockabilly (probably)

Felix Lee

Jing yuan CG (Hsr)

Charles Xavier CG (X-Men)

Toki wartooth (metalocalypse)

Naoto Shirogane (persona 4)

Kitoto (I don't know what he's from)

17th century dutch

Sirena von boo (monster high)

Jake (miss peregrines home for peculiar children)

Minecraft

Sees behind trees

Allay (Minecraft, I think)

Spinosaurus screenshots or products

Tecchou (Bungo Stray Dogs)

Barbara (genshin impact)

Tasmanian devil

Spamton CG (deltarune)

Spinosaurus

Grunge + lop eared bunnies

Yume-Nikki

Daxter (jak and daxter)

Madness combat for puppies

James Sunderland (silent Hill)

Shirokuma (Danganronpa)

Leo (IDW comic)

[hephaestuscrew]

I'm not the first person to say this, but there really is something groundbreaking about the lack of romantic plotlines in Wolf 359.

Wolf 359 is a story aimed at and about adults. It's partly about what it means to be human. It's partly about how we exist in relation to other people. It's partly about interpersonal connection and understanding. It has character relationships at its heart. It features so many moments of love and care between characters. It takes place across just over two years of the characters' lives, with 61 episodes and a main cast that grows to a decent size.

And despite all this, the show doesn't feature a single canonical 'on-screen' romantic (or sexual) relationship. Perhaps that shouldn't be as rare as it is, but it's one of the many things that makes Wolf 359 special to me.

[fragmentedblade]

Also, Ruan Mei was the one who lent the Phase Flame to Ratio, wasn't she?

[unforth]

I'm an OTW member again!

THANK YOU @petralemaitre !

If y'all want to get a membership scholarship before June 30th so you can register and be able to vote in the next OTW election, get all the deets here:

(the post is worth reading even if you don't want the scholarship; it's about End OTW Racism and it's such an accurate write-up of my own thoughts on why I'm involved too, I was like, "wow sharing a brain with a total stranger is so heckin' weird")

Very much lookin' forward to exercising my right to vote! Let's dooooo this!

[doux-amer]

Sick of this stupid team making the stupidest mistakes and sloppiest passes and their laziness and slowness on the ball and lack of finishing ability. I'm angry at Quansah, but once again, just like our matches against other big clubs, this is down to the whole team being miserably bad. Genuinely wondering if this team even wants to win the league for Klopp before he goes because they sure don't play like it.

[ambrosiagourmet]

I've been thinking about Laios' succubus lately. Mulling it over a bit.

Because I've seen these pages brought up a fair bit, but almost entirely in the context of shipping (on all sides, really). And I really want to understand what they are doing for the story beyond that.

When I went back to reread the scene and section, a few things caught my interest: the way Laios responds to both forms of his succubus, the themes of the volume the chapter is found in, and the other events of the chapter itself.

So let's dive into those three things, and what I think they say about the succubus scene's purpose.

Laios is never fully frozen by the succubus

So. If you compare Marcille and Chilchuck's reactions...

to Laios':

-

There is a difference. Sure, the basics may look the same once it turns into Scylla Marcille, but even then, it functions differently.

Chilchuck and Marcille are completely frozen once they catch sight of their succubus. Izutsumi, as well, isn't able to look away, and completely freezes up once her 'mom' starts talking to her. As Chilchuck describes, "just looking at them makes you unable to move."

And yet, Scylla Marcille has to actively convince Laios to comply. He even looks away from her at one point!

Laios accepts this succubus, but he is never actually helpless to it in the same way. Taken in? Convinced? Sure, at least enough to let things happen that he probably should question more than he does. But magically compelled? Not really. Not the same way as everyone else is. So that's interesting. But let's move on for now.

2. Volume 9 is all about drive and desire

I don't often look at chapters within the context of the volume they are included in, but I think there's some really fun things to be found with that perspective in mind.

For one, volume 9 starts with an exploration of what desire brought Laios to the dungeon:

And ends with a question of what desire brought Laios to the dungeon:

It's also very concerned in general with questions of why people do what they do. Why they are in the dungeon, why they are with the people they are with, why they stay, what they fight for.

In addition to Laios, we see it with Marcille...

Izutsumi

Kabru

and Mithrun

Hell, we even get it for the demon!

It's certainly not the only volume concerned with desires and motives, but it is particularly focused on these ideas.

The succubus scene fits quite well into the ongoing question about desires, especially Laios' desires. It is even placed at an interesting spot within the volume. The volume is six chapters long, and the scene takes place at the start of the 4th chapter. It's almost smack-dab in the middle.

With all this in mind, it is interesting that, with both versions of the succubus Marcille, it's not totally clear which parts of her Laios is rejecting.

The first version of Marcille looks human, but Laios attacks when he identifies her as a monster. The second Marcille looks like a monster, but he seems to believe that she is the real (human)(ish) person that he knows. So is he rejecting the monster at first, and then accepting the person? Or is he rejecting humanity and only interested in the monstrous?

Something to consider as we look at the next point...

3. the rest of the chapter is a seduction, too

This is one of those things that might not be apparent on a first reading, but is crystal clear on a revisit. We see the succubus try and charm Laios over 7 pages, and then see the Winged Lion do the same thing for the next 19.

Much like the succubus, it offers the mingling of monsters and humans. Much like the succubus, it offers belonging.

(and this is the point where I absolutely must also link this post by fumifooms on the succubus, which has some great ideas on how the scene is informed by Laios' trauma and desire for acceptance!!!)

But, back to the point. The Winged Lion wants to feed on Laios just as much as the succubus did, and it uses similar strategies to try and make that happen. Though this chapter isn't really the turning point for the next Lord of the Dungeon (it is Marcille who will, eventually, become the Lion's next victim), it certainly behaves like it is.

Laios is convinced. The succubus gets its meal. By the end of the volume, the reader begins to understand how concerning his desires are. Together, it is all very good at building up that sense of dread and pending disaster, as we see exactly how and why Laios might just fall into the Lion's open arms and bring about the end of the world.

-

So that's the three things I noticed. But there's still something I want to touch on by looking at the way these observations overlap, and what they reveal, together.

As I said, by the end of the volume, you can feel the tension growing. Just as Kabru and Mithrun do, you look back for an answer to the questions that have been built, chapter by chapter: why is Laios here? Where will his loyalties fall? This chapter, and scene, seem to prove the inevitable truth: he will choose the monster, of course. He will choose the seductive, easy power of the Winged Lion.

But the details of what actually happens tell different story: one in which the Lion is wrong.

First, as a reminder - even in Scylla Marcille mode, the succubus never fully entrances Laios. It convinces him, but it doesn't have him completely under its thrall.

Similarly, in the dream, the Lion does convince Laios to embrace the world he is offering. But even within that dream, Laios continues to ask questions that will be vital to him later. It is because of those questions that Laios comes to a new understanding about Thistle.

And it's this realization that he cites later as part of his reason for refusing the Lion's offer.

He is thinking through things the entire time, just like he continues to question the succubus even after it turns into Scylla Marcille.

Laios also expresses an interesting reason for why he wants to see the future of this world. He's not just invested because it would mean people liking what he likes, or him getting to spend time with monsters. The thought that comes immediately before his acceptance is about what he wants for monsters and people.

I don't think it's a coincidence that this statement - "we're living beings that share the same world, but all we can do is keep killing each other" - can apply to the various humans races just as much as it does to humans and monsters. The thing he is thinking about here isn't just a matter of his personal daydreams. It's an idea that underpins every conflict in the story.

Laios caring about how people as well as monsters in this manner is something that the Lion gets wrong every time. Even at the end, he still frames Laios' desires entirely around hating people and loving monsters.

The Lion has heard him express an opinion about the future of the world! It happened right there in the dream, right in front of him! He just didn't take it seriously, and didn't view it through any lens other than "Laios likes monsters more".

He's convinced that he understands how to get to Laios. Maybe the Lion can't truly see everything, or maybe his vision into everyone's deepest desires has made it hard for him to realize how much choice still matters. That people can, and do, choose which desires to act on, and how to act on them.

Whatever the case, he's wrong about Laios, and the story shows us this over and over again.

After all, look at how the succubus interaction plays out:

A monster uses Marcille to appeal to Laios...

He realizes that something about the situation is wrong, and rejects her.

It changes strategies, and makes new offer: to turn him into a monster.

It also assures him that his friends are, or will be, taken care of.

He accepts. Or rather, allows the monster to have its way with him.

But Laios is not as helpless as he initially appears, and what the Lion thinks is a successful seduction also contains the seed of an idea that will allow Laios to later resist him.

We even get to see Izutsumi playing a similar role in both instances, as the one person fully able to take action in the face to the illusion.

The story lays out what is going happen, and then explicitly tells us that the demon and the succubus are thematically related.

The chapter performs a great sleight of hand here - everything about it seems to indicate that Laios is doomed give in to the option to have his deepest desires realized. But if you look closer, it also contains the evidence that he won't. There's a lot more going on for him.

Yes, he still falls for obvious tricks. He is still extremely into monsters, and he still doesn't feel like he fits in with other people. He may, deep down, crave to surrender to the monstrous - to let it absorb him. But he questions more than he seems to. He considers more than people realize. He cares so much more than anyone gives him credit for.

And I think this is part of why we see the succubus called back to so many times, especially with the wolf head addition to his Monster Form, which he specifically added due to his encounter with the Scylla Marcille.

This all stays with Laios. It doesn't just foreshadow the path of the story, it is fundamental to how and why he walks that path. It's not about him choosing monsters, and it's not about him choosing people. It's about how he considers both, and cares about both.

And it's about the forces that think they already know his answer. Mithrun and Kabru. The Winged Lion. The succubus.

It's about how they are wrong.

[jadevine]

Preindustrial travel, and long explanations on why different distances are like that

Update March 1, 2024: Hey there folks, here's yet another update! I reposted Part 2a (the "medieval warhorses" tangent) to my writing blog, and I went down MORE of the horse-knowledge rabbit hole! https://www.tumblr.com/jadevine/741423906984951808/my-post-got-cut-off-so-i-added-the-rest-of-it Update Jan 30, 2024: Hey folks, I've posted the updated version of this post on my blog, so I don't have to keep frantically telling everyone "hey, that's the old version of this post!" https://thebalangay.wordpress.com/2024/01/29/preindustrial-travel-times-part-1/

I should get the posts about army travel times and camp followers reformatted and posted to my blog around the end of the week, so I'll filter through my extremely tangled thread for them.

Part 2 - Preindustrial ARMY travel times: https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask

Part 2a - How realistic warhorses look and act, because the myth of "all knights were mounted on huge clunky draft horses" just refuses to die: https://www.tumblr.com/jadevine/732043691180605440/helpful-things-for-action-writers-to-remember

Part 3 - Additional note about camp followers being regular workers AND sex-workers: https://www.tumblr.com/jadevine/740604203134828544/reblogging-the-time-looped-version-of-my

--

I saw a post on my main blog about how hiking groups need to keep pace with their slowest member, but many hikers mistakenly think that the point of hiking is "get from Point A to Point B as fast as possible" instead of "spending time outdoors in nature with friends," and then they complain that a new/less-experienced/sick/disabled hiker is spoiling their time-frame by constantly needing breaks, or huffing and puffing to catch up.

I run into a related question of "how long does it take to travel from Point A to Point B on horseback?" a lot, as a fantasy writer who wants to be SEMI-realistic; in the Western world at least, our post-industrial minds have largely forgotten what it's like to travel, both on our own feet and in groups.

People ask the new writer, "well, who in your cast is traveling? Is getting to Point B an emergency or not? What time of year is it?", and the newbies often get confused as to why they need so much information for "travel times." Maybe new writers see lists of "preindustrial travel times" like a primitive version of Google Maps, where all you need to do is plug in Point A and Point B.

But see, Google Maps DOES account for traveling delays, like different routes, constructions, accidents, and weather; you as the person will also need to figure in whether you're driving a car versus taking a bus/train, and so you'll need to figure out parking time or waiting time for the bus/train to actually GET THERE.

The difference between us and preindustrial travelers is that 1) we can outsource the calculations now, 2) we often travel for FUN instead of necessity.

The general rule of thumb for preindustrial times is that a healthy and prime-aged adult on foot, or a rider/horse pair of fit and prime-aged adults, can usually make 20-30 miles per day, in fair weather and on good terrain.

Why is this so specific? Because not everyone in preindustrial times was fit, not everyone was healthy, not everyone was between the ages of 20-35ish, and not everyone had nice clear skies and good terrain to travel on.

If you are too far below 18 years old or too far past 40, at best you will need either a slower pace or more frequent breaks to cover the same distance, and at worst you'll cut the travel distance in half to 10 or so miles. Too much walking is VERY BAD on too-young/old knees, and teenagers or very short adults may just have short legs even if they're fine with 8-10 hours of actual walking. Young children may get sick of walking and pitch a fit because THEY'RE TIREDDDDDDDDDD, and then you might need to stay put while they cry it out, or an adult may sigh and haul them over their shoulder (and therefore be weighed down by about 50lbs of Angry Child).

Heavy forests, wetlands and rocky hills/mountains are also going to be a much shorter "distance" per day. For forests or wetlands, you have to account for a lot of villagers going "who's gonna cut down acres of trees for one road? NOT ME," or "who's gonna drain acres of swamp for one road? NOT ME." Mountainous regions have their traveling time eaten by going UP, or finding a safer path that goes AROUND, so by the time you're done slogging through drier patches of wetlands or squeezing through trees, a deceptively short 10-15 miles in rough terrain might take you a whole day to walk instead of the usual half-day.

If you are traveling in freezing winters or during a rainstorm (and this inherently means you HAVE NO CHOICE, because nobody in preindustrial times would travel in bad weather if they could help it), you run the high risk of losing your way and then dying of exposure or slipping and breaking your neck, just a few miles out of the town/village.

Traveling in TOO-HOT weather is just as bad, because pushing yourself too hard and getting dehydrated at noon in the tropics will literally kill you. It's called heat-STROKE, not "heat-PARTY."

And now for the upper range of "traveling on horseback!"

Fully mounted groups can usually make 30-40 miles per day between Point A and Point B, but I find there are two unspoken requirements: "Point B must have enough food for all those people and horses," and "the mounted party DOESN'T need to keep pace with foot soldiers, camp followers, or supply wagons."

This means your mounted party would be traveling to 1) a rendezvous point like an ally's camp or a noble's castle, or 2) a town/city with plenty of inns. Maybe they're not literally going 30-40 miles in one trip, but they're scouting the area for 15-20 miles and then returning to their main group. Perhaps they'd be going to an allied village, but even a relatively small group of 10-20 warhorses will need 10-20 pounds of grain EACH and 20-30 pounds of hay EACH. 100-400 pounds of grain and 200-600 pounds of hay for the horses alone means that you need to stash supplies at the village beforehand, or the village needs to be a very large/prosperous one to have a guaranteed large surplus of food.

A dead sprint of 50-60 miles per day is possible for a preindustrial mounted pair, IF YOU REALLY, REALLY HAVE TO. Moreover, that is for ONE day. Many articles agree that 40 miles per day is already a hard ride, so 50-60 miles is REALLY pushing the envelope on horse and rider limits.

NOTE: While modern-day endurance rides routinely go for 50-100 miles in one day, remember that a preindustrial rider will not have the medical/logistical support that a modern endurance rider and their horse does.

If you say "they went fifty miles in a day" in most preindustrial times, the horse and rider's bodies will get wrecked. Either the person, their horse, or both, risk dying of exhaustion or getting disabled from the strain.

Whether you and your horse are fit enough to handle it and "only" have several days of defenselessness from severe pain/fatigue (and thus rely on family/friends to help you out), or you die as a heroic sacrifice, or you aren't QUITE fit enough and become disabled, or you get flat-out saved by magic or another rider who volunteers to go the other half, going past 40 miles in a day is a "Gondor Calls For Aid" level of emergency.

As a writer, I feel this kind of feat should be placed VERY carefully in a story: Either at the beginning to kick the plot off, at the climax to turn the tide, or at the end.

Preindustrial people were people--some treated their horses as tools/vehicles, and didn't care if they were killed or disabled by pushing them to their limits, but others very much cared for their horses. They needed to keep them in working condition for about 15-20 years, and they would not dream of doing this without a VERY good reason.

—

UPDATE January 13: Several people have gotten curious and looked at maps, to find out how a lot of cities are indeed spread out at a nice distance of 20-30 miles apart! I love getting people interested in my hyperfixations, lol.

But remember that this is the space between CITIES AND TOWNS. There should never be a 20-mile stretch of empty wilderness between City A and Town B, unless your world explains why folks are able to build a city in the middle of nowhere, or if something has specifically gone wrong to wipe out its supporting villages!

Period pieces often portray a shining city rising from a sea of picturesque empty land, without a single grain field or cow pasture in sight, but that city would starve to death very quickly in preindustrial times.

Why? Because as Bret Devereaux mentions in his “Lonely Cities” article (https://acoup.blog/2019/07/12/collections-the-lonely-city-part-i-the-ideal-city/), preindustrial cities and towns must have nearby villages (and even smaller towns, if large and prosperous enough!) to grow their food for them.

The settlements around a city will usually be scattered a few miles apart from each other, usually clustered along the roads to the city gates. Those villages and towns at the halfway point between cities (say 10-15 miles) are going to be essential stops for older/sick folks, merchants with cargo, and large groups like noble’s retinues and army forces.

Preindustrial armies and large noble retinues usually can’t make it far past 10-12 miles per day, as denoted in my addition to this post. (https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask )

[nobodysuspectsthebutterfly]

Somewhere beneath those roofs, the Sons of the Harpy were gathered, plotting ways to kill her and all those who loved her and put her children back in chains. Somewhere down there a hungry child was crying for milk. Somewhere an old woman lay dying. Somewhere a man and a maid embraced, and fumbled at each other's clothes with eager hands. But up here there was only the sheen of moonlight on pyramids and pits, with no hint what lay beneath. Up here there was only her, alone. She was the blood of the dragon. She could kill the Sons of the Harpy, and the sons of the sons, and the sons of the sons of the sons. But a dragon could not feed a hungry child nor help a dying woman's pain. And who would ever dare to love a dragon? —ADWD, Daenerys II

Interviewer: One could argue that more can be learned about everyday politics from your novels than from the newspaper.

George: I did indeed intend to make politics one of the main themes of these novels. I hope to make my readers reflect on political issues. For example, when Daenerys Targaryen conquers a city of slave traders and tries to rule it, she realizes that good intentions alone do not make a government program. There is a series of very difficult decisions to make and, no matter what you do, people will hate you.

Interviewer: Even if one has three dragons.

George: Exactly. The dragons are metaphors.

Interviewer: Virtually the nuclear weapons of your world.

George: The most terrible weapon! However, they don't put you in a position to abolish poverty, make everyone love you, or lead a happy life. You can very well use them to burn things down, to destroy your enemies, cities, and entire cultures, but that doesn't solve the problem of good governance.

- George R.R. Martin, The Father Of Fire And Ice

[fandomislife03]

Ok ok ok SO!

I think everyone has realized that Leola was autistic. It was heavily implied both through the flashback images and Aaravos' narration-

She lined up her toys, flapped her hands (it was also shown in the trial scene), seemed to be sensitive towards loud sounds (like the other startouch elves when they talked), and walked on her tiptoes. All of those are classic signs of autism.

But there's one thing I haven't seen anyone else bring up, and that's that her giving her human friends magic and breaking the "cosmic order" or whatever could also be because of her neurotype!

Autistic people tend to have very strict senses of morality and fairness, and will disregard rules if they don't fit their idea of right or wrong. Personal example here, I used to constantly do things I was told not to because I thought the rules in question were bogus.

It's not hard to guess that Leola would find the rules about humans not having magic to be unfair- after all, her and all the other elves, and even the animals around them are full of it! So in the mind of an autistic child, this would be incredibly unfair. And she had the power to "fix" the situation! So why wouldn't she?

Why wouldn't she try to help her friends? Because it would break the cosmic order? That's vague as hell and she was a KID!

And the startouch elves atomized her, for breaking a rule she probably only half understood and thought was stupid. Because she was autistic.

Had this thought and wanted to share, makes the whole thing even more tragic.

[thinkinonsense]

PAST LIFE⋆

dofp!logan howlett x mutant fem!reader

cw:fingering, cursing, dirty talk, mentions of motherhood, fluff

masterlist

logan should've known when he accepted the mission to come go back in time to stop the sentinels that you would still be here.

"is there an issue here, hank?"

the sound of your voice made logan's heart flutter. you were barely peaking out from behind the door but logan could see you just fine. he couldn't stop staring.

"no, everything's fine." hank assured you. just as you turned to return to charles's office, you heard the door burst open. this handsome stranger hits hank right in the nose before continuing up the stairs to you.

logan had to take you in for a second. his beautiful future wife stood in front of him and had absolutely no clue that they were married because she was only twenty-five years old.

had you always been this gorgeous? was that even fair? all of these were questions that floated around in his mind.

"who are you and what do you want?" you asked as he reached out to touch you.

"so you've always been this beautiful, huh, princess?" he purred, tucking away a piece of your hair behind your ear.

sure, he was attractive in his brown leather jacket and sunglasses but this man looked in his mid-forties. logan was too busy staring down at your frilly yellow babydoll dress to notice where you were looking at him. his left hand; more specifically the gold band on his ring finger.

"i don't mess with married men." you glare at him. he can't help but chuckle darkly down at your innocence.

"oh, my wife wouldn't mind."

god, logan felt like such a pervert for coming on to you but he couldn't help it. your ethereal beauty was unreal. not that you have aged much since the present day, as you two have the slow aging processes in common. older hank would always tell logan that he should be lucky that you agreed to date him because there were plenty of people who would love to take his place. sure, logan believed him but now, he really understood what hank meant.

"where's charles at, sweetheart?" logan asks, inhaling your floral sent.

before you can respond, charles comes barreling down the stairs drunkenly calling after you.

"where've you been?" he asked you then turned to logan. "who the hell are you?"

this should be good.

°❀⋆.ೃ࿔*:･

"how do we know that you're actually from the future?" you asked, sitting atop charles desks, swinging your legs. hank and charles stood outside in the hallway discussing whether or not to trust logan.

"you've always been this stubborn?" logan says under his breath, rolling his eyes.

"how do we even know each other in the future?" you finally asked.

for the past hour, this man has tried to sell this absurd story about how future charles and magneto sent him here together to save mutants from sentinels. so far he's managed to convince charles but hank and you were still on the fence.

"we're married, sweetheart." logan smirks wickedly.

there was absolutely no way that you two were married. this man is grumpy, mean-looking, and wears dark brown leather. you are an academic scholar who adores pastels and helping other mutants. he had to have you mistaken.

you squint up at him and laugh, "we are married?"

logan nods, walking over to you until he's standing between your legs.

"tell me something only i would know then."

"your favorite ice cream flavor is strawberry, you hate the cold and winter, anytime you drink coffee you get nightmares, your favorite color is green, but your favorite shade is the color my eyes get when i look at you." logan could see the way your eyes widen, slowly starting to believe him more and more. he couldn't help but feel cocky. "would you like me to continue?"

"im not sure... think you're gonna have to prove it. another way." you challenge him. logan's hand trails up your thigh, playing with the soft yellow material.

"c'mon sweetheart, this is too easy." he mutters against your neck, placing soft kisses and nibbling on the skin.

logan knew you like the back of his hand. he knew exactly what you liked and disliked. sometimes you would even tell him that he knew you better than you knew yourself.

"you like when i pull your bottom lip when we kiss. you blush every time i offer for you to sit on my face. one of your favorite ways to fuck is pressed up against a wall or bent over a table..." logan could go on and on.

"we do that...?" you whisper embarrassed by this version of yourself, trying to avoid his burning gaze.

"oh, all the time. sometimes you pull me down on the floor when i come home, begging to ride me right then and there." logan says, once he captures your attention again. you chew on your bottom lip adorably.

a small whimper passes your lips before you remember that hank and charles aren't that far away from the room. one of your hands comes up to logan's chest, slightly pushing him back despite not wanting to.

"w-we should stop." you warn him. "they can hear us."

this was when logan knew that you hadn't discovered part of your mutation yet. he had already assumed that you hadn't but this confirmed it.

"need you to relax, princess," he says, moving higher up to your jaw. your body betrays everything your mouth says, eating out of the palm of his hand. "i promise once you relax, it'll feel like time has stopped."

logan's lips taunt yours; not quite giving you what you want. fed up, you overpower him and push his lips into yours. the only word floating around in your head was 'relax'.

carefully, logan lays you back on the desk. something about being held in the stranger's arms set you at ease; maybe he was your husband?

"you don't know this yet..." logan huffs. "but you can stop time."

you scoff, thinking that you caught him in a lie. "no, i can't."

"if you relax like i said, then you can." logan mutters against your collarbone.

one of his hands slides up your thigh while the other rubs circles on your hip bone. was this wrong of you? if he is telling the truth –and it seems like he is– then technically he is your husband and it's not wrong to mess around with your husband.

"open up for me, babydoll." logan mumbled against your collarbones, placing wet kisses and nibbling on the delicate skin.

your legs spread with ease as his callused fingers rub over your cotton panties. the soft material of your dress is bunched at your tummy as he tugs your panties off, pocketing them for himself. his thumb returns to rub your button.

"p-please..." you whimper, looking up at logan with bambi eyes. "need more."

"anything for you, princess." he groans, slipping two fingers inside of you as gently as he can. this earned a loud moan from you when he nudged that spot deep in your gummy walls with ease.

"see how well i know my wife?" logan gloats, pressing soft kisses to your lips but never letting you catch him. "you usually prefer it rougher than this but i'm not cruel."

"y-you can go... can go faster." you pant, never having anything quite his size yet.

"i don't want to hurt you, baby." he says in a condescending tone. "wanna know something 'bout the future?"

it was difficult but you managed to nod your head despite how clearly fucked out you were at this point.

"a couple weeks ago, you came home telling me how much you want to be a mom; how you've always wanted to be a mom." he pulls back to look at your pretty face, lust darkening your eyes and slick pouring out of you, practically dripping down his palm onto the desk. "so, every chance we get alone you've been begging for me to go raw inside of you."

logan loved how even as you're all spread out for him, you're still blushing at his filthy words.

"look at you, blushing while you soak my hand." he mocks with a smirk.

"i'm s-so close, please!" you beg so politely.

his thick fingers pick up the pace as you clench down on them; jaw dropped and head thrown back. logan's other hand supports your back while your cute painted blue nails dig into his wrist as your climax starts to wash over you.

"hey sweetheart, look out the window." he chuckles, moving your chin to stare hazily out the glass window.

you couldn't believe it. every car, bird, street light, everything was stopped. everything but you and logan.

"how did you know that i could...?"

"you can't always control it but when you calm your mind, it's easier for you to do it."

"does it always happen when we...?"

"when we have sex...?" logan chuckles as you hide yourself in his chest. you nod. "no. over time you've found ways to control it. sometimes if we need more time, you might manipulate it."

"future me sounds cool." you giggle, lifting up to look at him. "how do we meet?"

"i can't tell you that." he smiles.

"well, then where are you in this timeline? how can i meet you sooner?"

"i'm not a very good man during this time, baby. you'll meet me when the time is right."

"what if you don't want me then? how do you know we will still get together?"

logan looks down at your pouty lips, swiping his thumb across it.

"i'll always come back for you. no matter the timeline or where we are in life; i'll find you again."

"promise?"

"i promise you, sweetheart. don't worry that beautiful mind of yours." he assures, kissing the tear strolling down your cheek.

logan reaches down and kisses you tenderly, pulling you out of the time freeze. suddenly the door swings open on the two of you. thank god, logan had quick reflexes, pulling your dress back down to cover you.

charles calls your name and then asks, "what are you doing?"

"it's okay, he's my husband."

a loud laugh escapes logan at your lovey-dovey tone, almost making hank and charles eyes fall out of their heads. you couldn't wait to meet logan again in the future.

[lymtw]

"Come here," Toji says, at the sight of the involuntary pout that works wonders to express your internal, dispirited mood. His attention is divided very unevenly between you and the movie playing on the TV, you holding the greater part of his focus. He's watching you for his own peace of mind, hoping that every time you take a break from the movie, to check your phone, you'll spare him a look. You've been quieter than he knows you to be, and you're not sitting even remotely close to him. He's on one side of the couch and you're on the other side.

A few seconds pass since Toji spoke up, and he wonders if you even heard him in the first place, because you didn't respond. He passes on repeating himself when you shift your eyes from the TV to meet his gaze, and though your gloominess isn't because of him, you can't offer him any sort of indication that you're good.

"Sorry, i'm not in the mood to take my clothes off, Toji," you say, your voice a gentle, pitiful excuse for sound. If your voice could be seen, it would be similar to the tragic way that grass blades slowly try to stand up, after being stepped on. If the sound of your voice could be felt, it would be the void-like, almost nauseating feeling in your stomach, that comes with ignored hunger. You sound detached from the bright person Toji knows, and clearly, you're not okay.

"I'm not asking you to undress yourself. I want you to come to me," Toji responds. "You're sitting so far over there, away from me, like I did something to you. For being the most reasonable person I know, this isn't fair, at all." His eyes stay on you as he awaits your response, but he is only met with the sight of you looking down at your hands.

"Be fair. You didn't help me get better at communicating, just to turn the tables on me like this." His tone is sharper, out of urgency. He wants to know what he can do for you, but it's hard to do that when you're there, yet, not there. "Just... come here, ma," Toji tries again, his voice a little softer and understanding. "Please. Let's talk about anything." He pats his thigh, directing you to one of the reserved spots he holds for intimate conversations with you.

You know Toji's stubbornness will not leave you alone. It's impossible to hide anything from him once he's onto you, so you stop prolonging the inevitable and silently do as he says.

You turn off the TV, before walking over to him and settling on his lap. You sit there, with a racing heart, because Toji's attention feels like a spotlight on you. His hands interlock at the small of your back and rest there, as he waits for you to say something. Silence invades the moment while you figure out where to start.

"What's wrong?" He asks, when there is no attempt to speak made by you. Immediately, your throat begins to ache, and your eyes start to sting. It's a question known for breaking people, and you're on the brink of becoming another victim. You think you can widen your eyes to keep them dry or blink away the tears, but the outcome doesn't favor you. Toji's hands shift so that they're splayed out on your lower back. They move up and down in soothing motions, as if he's trying to coax your strong emotions out with the comforting gesture. Like a gloomy sky finally giving in to rain, you cave in to vulnerability.

"Baby?" Toji calls, watching as sadness takes over your features. He sighs as he pulls your twinkly-eyed self into his tight embrace. He hates when you cry. The sound and the sight is the equivalent of pouring acid on his heart. It's torture for him to see that his baby, his sweetheart, his love, has been reduced to streams of tears, but he knows that getting it all out is for your own good. This is the 'alcohol in the wound' part of the process. You don't want to do it, but you'll feel better, afterwards. Just like a real physical wound, Toji will make you get it done. Scream if you must, curl into him like you are trying to go through him, he's not going to abandon you.

"Just breathe, sweet girl," he instructs, when he hears the heart wrenching sound of your stuttered breaths. "Breathe. Give me a good one," he says, rubbing your upper back. You inhale, the act still heavily stuttered, before you exhale. "Good. Again." You repeat the process and get the same trembling breath as a result.

"Fuck," you choke out. Your head feels like it's pulsing, your abdomen burns, your chest feels heavy, as if you have chains tightly wrapped around your torso, and your throat aches. It's all so overwhelming, you feel like there's a disastrous storm ruining you from within.

"Sweetheart, please breathe. You're gonna turn blue any minute now." Toji can't hold you any tighter without crushing you, but he wants to, so badly. This is the lowest he's ever seen you and it's killing him. He has never made you this upset. It's hell to even imagine what you must have endured to get to this point.

"You're safe. I have you," he says, bringing a hand up to cradle the back of your head. "I'm here, baby."

Toji's shoulder is damp from your waterfalls of tears and he can feel an excessive amount of heat radiating from your trembling body. Your crying ceases and all that can be heard are sharp, short inhales and puffs of air, as you try to regulate your breathing. Toji continues running his hands over your back, soothing the tired, tense muscles of your shoulder blades.

"We are gonna have to talk about this later, doll. I know that might not sound like the most fun thing to do, but it'll make you feel better. I want you to feel better."

Toji is mindful of your silence. He knows your voice isn't in the best condition to speak after your surge of emotions, and you're probably exhausted, but this isn't a dead end for him. He'll figure out your needs, and he'll take care of you. Anything to bring your happy, smiling face, back.

Toji allows you to pull away from his shoulder, and instantly takes in the sight of your pretty, ruined face. You don't look at him, and he assumes that your appearance is to blame. Your eyes, they're red and puffy, glimmering in the light with your now contained feelings, and you're still sniffing like you need to blow your nose. It's terrible to see you this way, but he would withstand much more than this, if you needed it.

"How does a bath sound, for now? A bath and then some food? You hungry, mama?" He asks, his expression involuntarily soft, as he runs the pads of his thumbs beneath your eyes, attempting to clean you up a little.

"No," you say, quietly, with the fragility that remains of your voice.

"I'm gonna pick up some food while you relax." Toji almost laughs at the subtle roll of your eyes. "That's my bad. I shouldn't have asked in the first place. You need to eat something."

He doesn't want to put you through any more stress, but when he needs to take care of you, during times like this, he knows what you need more than you do. Your reasoning is clouded by your emotions, and you'll let go of yourself, because your thoughts rewind over and over to what's plaguing your mind. Toji knows you'll be glad he did this for you when you feel better.

"Let's get that bath ready," he says, securing your legs around his waist, before he stands up from the couch. Your face is buried in the crook of his neck, and you breathe in his scent, until you reach the bathroom.

Toji flicks the light on and sets you down on the counter. A chaste kiss is pressed to your tearstained cheek, before he lets you go so he can prepare your bath. You turn your head to look at yourself in the mirror and hate the messy sight before you—the product of your meltdown. You turn on the cold water and splash some on your face, hoping to decrease the puffiness of your eyes, even just a little bit, while Toji is busy. You dry your face afterwards and check your appearance in the mirror, again, to clean up any remaining gunk in your eyes.

When you finish, you turn back, just in time to watch Toji rise from his knelt position by the bathtub. He makes his way back to you and stands between your legs, offering you a contemplative look, and a "hm" to go along with it. No words are exchanged when his hand reaches out to gently cup your jaw, allowing him to turn your head in any way he wants. He leans forward to examine you more closely, to check if anything is "broken". He can see you pressing your lips together, trying not to laugh, as he continues to snoop around.

"Oh," he says, like he found a cable that has simply been disconnected. He turns your head a little, and keeps inspecting the problematic area, building up the suspense for you. You couldn't say it, but him finding something scared you a little, considering you had just looked at your reflection and didn't see anything.

"Don't move, doll. I'll get it." His hand rests on your shoulder, the other on your thigh, as he leans in closer and closer, until his body heat coils around you. He presses a kiss to the side of your neck. It's featherlight, almost like a gentle breeze. Another one lands on the same area, then another, and another, until he hears your little laugh, a sound that brought both of you mutual relief. Your relief came from understanding that Toji didn't actually find anything off, while Toji's came from the miracle of him being able to make you laugh, after what went down not that long ago.

"Two seconds, ma," he says, beneath your ear. He pulls away from you and goes back to the now foam covered, sweet smelling bathtub. He leans down to turn the faucet off, and returns to you, afterwards.

"It's all ready for you," he says. A smile curls on his lips when you raise your arms, signaling for him to pull your shirt off. "You wanna keep your bra and underwear on?" He asks, as he pulls the hem of your shirt up. You nod, just before the material goes over your head. He sets it aside and helps you down, off the counter, so you can take your sweatpants off. You pull your phone out of your pocket and set it on the counter. Your fingers hook into the waistband of your sweatpants and tug downwards, until they just slide down your legs and allow you to step out of them.

Toji watches you carefully step over the edge of the tub, one foot sinking through the foam and into the warm water, followed by your other foot. You crouch down, slowly, until you are able to sit down and eventually lay back. You close your eyes once you're in a comfortable position and just let the warm water and the pretty smell work its magic on you.

Toji kneels beside you, and observes you in a more serious manner than before. His gaze lingers on those tired eyes of yours, for longer than any of your other facial features. Your eyelids are still swollen and the bags beneath your eyes are prominent. The longer he stares, the more he thinks back to how you were so distressed, to the point where you forgot how to breathe for a few seconds. It scared him. He didn't get a single word about what was wrong, from you. You couldn't say anything other than that single curse, but even then, you sounded like you were being strangled by your own emotions.

Toji knows this is only a temporary fix— this calm sight of you resting in a bubble bath. Your feelings won't be swept under the rug, because he knows that if it were him going through this exact situation, you wouldn't just give him a hug and call it a day. No, when you take care of his mind and heart, you hold him in your arms and don't let go until he's the one trying to cage himself in your embrace when your arms loosen around him. You keep your voice at an intimate volume as you tell him about your day, because sometimes he isn't immediately ready to talk about what is bothering him, but he still wants to hear you. You cook for him, you give his tired body massages, you shower him with love and affection, and when he's finally ready to tell you what's going on, you listen closely to everything he has to say and you offer him your utmost support. You love and protect him to no end, and he has become shamelessly clingy towards you, because of it.

He wants you to feel as loved as he does. He wants you to know what it's like to experience the same level of care you give him. He may not be able to replicate it to a T, but he's willing to try for you.

"Hey," Toji calls, tenderly running the knuckle of his index finger back and forth, over your cheek. You hum, and blink open your eyes, giving him your attention. "I'm gonna go get us some food. Stay on the phone with me and keep me company until I get back, yeah?"

You nod. "Yeah, okay. Can you bring me my phone, please?"

Toji gets back on his feet and takes one large step towards the counter, retrieving your phone, before taking that same step back to leave it next to you, on the edge of the bathtub.

"Be right back, doll. Pick up the phone as soon as I call, okay?"

"Okay."

His hands grip the edge of the bathtub, to prevent him from falling in, as he leans in to peck your cheek once more. His weight shifts onto one arm so he can bring a hand to your face and rub the kiss into your skin with his thumb.

"Love you, ma."

"Love you, too."

With that, Toji stands up straight and heads towards the door. He takes one last look at your pretty face, before exiting the bathroom and closing the door behind him. He grabs his phone from the couch, his keys from the hook on the wall, and messily slides his shoes on, not bothering to put them on correctly, since he won't be getting out of the car, anyways. He secures the inside of the house, before heading out, and once he's outside, he finds his house key and locks the door. He fishes his phone out of his pocket and makes haste of clicking the phone icon, and then your contact, as he keeps walking to the car. His phone is now against his ear, and he listens as the line rings once... twice...

"Hi, Toji."

"Hi, baby."