#but that's just what the production notes emphasised

[mofffun]

Bo...Boshimaru's felt patch isn't even his childhood face it's a hand-made felt patch with his grown-up face on his grown up underpants

did. did he had those custom. did he made them themselves. did kamejim just kept on wearing those embroidered undies in his disguise

[dashitsxx]

don't you ignore me | bakugo katsuki x fem!reader

summary. Maybe if Bakugo wasn't being a piece of shit to you, you wouldn't ignore and be bothered by his treatment towards you. However, you need to make him realize his actions, yet his temper always creates the most unexpected outcomes.

genre. angst. explicit smut. 18+

word count. 1.7k

warnings. dubcon. in an established relationship. adult!bakugo. hero!bakugo. citizen!reader. lots of cursing. arguments. aggressive behaviour. bitter and painful words (bakugo). communication issues. hints of possessiveness. a bit of egoistic behavior. degradation. dominance. manhandling. fingering. cunnilingus. slight choking.

disclaimer. Please note that this work is entirely fictional. It is not intended to condone, glorify, or encourage any form of violence, illegal activity, or harmful behaviour. All characters (credits to the manga artists), scenarios, and events are products of the author's imagination and/or used in a fictional manner. Any resemblance to actual persons or real events is purely coincidental. The purpose of this work is to entertain and provoke thought, not to promote harmful behaviour.

Silence bore between the two lovers, yet it was not the quietness of peace. It’s as if one of you stands waiting to be ignited before exploding. You crossed your arms and legs as you swung your foot back and forth, an annoyed expression crossed your face while in front of you was a glaring red-eyed man staring at you with a temper much worse than yours.

Bakugo clicked his tongue in annoyance, “Oi, aren’t you going to talk? Are you listening to me?" You only glared at him. It was his fault, anyway. So, why should you be bothered to communicate with him when he has no will to do it with you? It was always his profession, here, there, this, everywhere.

You understood him, always.

Yet it was unfair in your case; every time you asked him to do something for you, he would always reject it and prioritize his job before you. You even wonder if you were still his girlfriend or just a fucking maid. You didn't have to explain yourself with that, he should realize how he treats you. You sighed disappointedly at his response as you stood from the couch noiselessly before dashing upstairs to your bedroom. Bakugo stared at you with wide eyes, furious at your disrespect to him, especially your silence. He lets out a chuckle as he follows you. "Y/N. Talk to me, come on. What the fuck is your problem? Come on, babe. Fucking talk to me! You are making me look like a fool." Bakugo complained angrily. You pick up your pace, still ignoring him. "Stop fucking ignoring me!" Finally, Bakugo exploded.

A deafening reverberates in the bedroom as you harshly close the door. A shout followed once you entered your room. There were loud and quick strides that echoed behind the door. “Oi, Y/N! Don’t you ignore me!” Bakugo shouted aggressively. You ignored the loud voice of your boyfriend. Consequently, this made Bakugo bang on the door like a lunatic. “Hey, I am fucking talking to you! Stop being a bitch and open up the door!” He demanded furiously. 

Your jaw clenched upon hearing his words as you sit up before inhaling deeply. “Leave. me. the. fuck. alone. Katsuki. Just go and do your job by fucking other women!” You screamed back at him with a tone emphasising the words.

You stomp loudly on the ground as you heavily lay your body down on the bed. The shouts and screams by Bakugo continued as he continuously bangs the door. He can blast your door with his quirk at any moment, but despite his irritable temper, he is never reckless with his actions.

This situation resumes between you and your boyfriend for 5 more minutes until the banging stops. You waited a few moments to expect another banging, but it never came. When you feel like Bakugo has given up, you reach up to grab your pillow to place it on your face before gripping it and screaming as loud as you can.

“Asshole! I hate you! I hate you! I hate you!" Your muffled screams vibrated through the pillow. You were frustrated at your boyfriend. In a relationship, generally, people expressed that communication is the key to a healthy relationship. You agree with that perception while hoping to experience where you and your significant other are open towards each other, with no shyness or fear present. But with Bakugo, it was the opposite. He was loud, but it meant that he never listened. There were a lot of circumstances you can name where you tried to get him to listen to you. He always wanted people to follow him, including you. You love Bakugo, but you hate that part about him. His pride was a problem to you and the relationship itself. It hinders you from attempting to be open with your lover.

Sometimes, a thought passes by saying it would be better if you weren't in a relationship. You remove the pillow from your face as you blankly stare at the ceiling.

Should you break up with him? Suddenly, a frame appeared in your view. A loud gasp left your lips as you propped your elbows. The man in front of you had a deadly grin and eyes that were blazing fire as if his stare would kill you in seconds.

"The fuck did you just say, babe?" He gritted through his teeth. Your eyes dilated upon seeing your boyfriend. Your lips shake from fright as you try to form your words, "H-how... w-what, h-how did you..."

A chuckle left Bakugo's mouth as he trapped you between his body and the bed, slowly climbing up, "Babe, you are not the one who is only living here, hmm? But I want to know what you said a while ago."

You frown upon what he said—did you say it out loud? You never meant it. It was the heat of the moment. In a million years, you never wish for that to happen even if it passes in your mind. You back away slowly, "What do you mean? I didn't say anything..."

Another sarcastic chuckle was emitted by your boyfriend as he pushed himself up on his knees and cracked his knuckles soundly. You feel shivers spreading through your body as you wait for his turn to speak. His silence was fearing you.

Suddenly, he yanked your ankles towards him, leaving you to yelp in surprise. As he climbs between your legs and then bends down to you. With that, he begins to your face with his right hand, drawing in a ticklish manner. Gently, his thumb stops at your lips. You stare at Bakugo's face, only to see him, licking his lips sensually. He unhurriedly pushes his thumb between the gap of your lips as you allow him. The push of your tongue down made your back arched, your crotch inches away from his.

"You know, baby? I admire your courage, really do." Bakugo snickers as his hand leaves your mouth to slowly slide down to your neck, the saliva trailing your chin.

"It is one of the things I love about you... however, you can't fuck with me with that foolishness of yours."

A sudden, rough placement was rubbing your clothed pussy, and you gasped loudly at the sensation. Pleasure soared through your body despite the brutish action of Bakugo. He sneered at your reaction, it was definitely satisfying to see you squirming at his touch below him as always.

His right hand proceeds to lift your shirt up to free your breasts from the confinement of the fabric, "You say you wanna break up with me, huh? What the fuck you have been drinking for you to say that?" He mocks.

As his other hand hooks your shorts and panty to the side before sliding a finger up your slit. A moan erupted from your lips, "Oh my gosh, Katsuki!" You could not reply to his mocks due to the unbelievable satisfaction that he always gives you.

"This slut can't even give an answer." Bakugo grabs a nipple by his lips, sucking it harshly before switching to your other boob. You hissed in response. Bakugo always knows how to make you shut up, it wasn't your fault you couldn't answer.

"Perhaps, I should fuck you hard to get that pissy attitude out of your pussy... and I'll make sure that you would never think about leaving me. I guess this is what you deserve after fucking ignoring me the whole day." A deadly grin formed on Bakugo's lips as he let go of your nipples.

Your eyes widen as you quickly place your hands on his huge forearms. "W-wait! Katsuki! Ah!" You moan loudly as your boyfriend inserts two of his thick fingers in your cunt, making you feel full.

Like the expert he is, he harshly thrusts his fingers with his thumb circling your clit rapidly. You suck in a deep breath as your back arches greatly. The squelch of your pussy entertained Bakugo as he felt this great pride overpowering him.

"Look at how wet you are, babe. No one will ever get you this wet other than me."

The words of Bakugo only passes through the other ear as you feel dizzy at the pleasure. While you attempt to at least decrease the sensation, Bakugo notices it as he chuckles.

He then placed his palm flat on your pelvis area, pushing you to prevent you from moving away from him, but this didn't help you one bit. It made it more difficult for you to resist the upcoming hurl around your stomach. You squirm around his hold, "S-slow down! F-fuck, Bakugo!" You plead while leaving long streaks of red marks, digging your nails.

Yet, your boyfriend ignored the pain. He only curved his lips upwards as he continued to finger you at a merciless speed. You were a mess; beads of sweat formed all around your body; hair was in a dishevelled state; and a fucked-up pleasure expression crossed your face.

As you are in bliss, you don't notice your boyfriend go down on you. Then you feel a long wet stripe along your hole, and you take a sharp inhale. "Oh fuck, Katsuki!"

A snicker left his lips as he licked your slit deliberately. His red eyes stare at you, "You're lucky, I'd be the one fucking you like this. A lot are lining up just to get a taste of me."

His thumb continues to rub your clit. "But no man will be able to satisfy you like I do. Well, I don't plan to let them either." A possessive tone was evident in his voice.

You open your mouth to retract back at him, but he laps his tongue on your sensitive bud, making you twist. You slid your hand from his forearms to grab his hair hard.

He was ruthless as he pushes your hips down to prevent you moving carelessly. Katsuki sucks your clit repeatedly. Yet, you only gave moans and whimpers until a sudden twist feeling quickly emerges, releasing in your stomach as you heave.

"Oh, I'm cumming! I'm cumming!" You muttered repeatedly, which made your boyfriend laps his tongue in a much brutal pace.

You shiver as you release. Your chest rises up and down as you try to catch your breath. However before you gather yourself up, a hand stops you by pushing your neck down. You cough in the process as you struggle to breathe.

He glowers down at you with intense eyes. He is portaying his dominance over you. Little by little, he leans to your ear, lips slowly tickling the small hairs.

"I am still not done with you."

all dividers are from @/cafekitsune, thank you <33

[iwillbringyouruin]

Visions Magazine with Tobias Forge on the idea behind Rite Here Rite Now, the importance of soundtracks in general and how he distinguishes between himself and his characters (Visions Magazine issue nr. 377, 08/2024)

Full translation of the included interview by me below the cut - buckle up, this is a long post! There are no spoilers for RHRN in this.

Markus Hockenbrink: Tobias, have you ever watched the movie Metallica: Though The Never?

Tobias Forge: Yes, once, when it had just come out. The topic Metallica came up when we were taking care of the funding for [RHRN]. Every larger production company – and I have to emphasise here that this was before Taylor Swift’s The Eras Tour and her extremely successful movie about it – voiced a lot of concern back then whether anybody would still be interested in concert movies. I had to explain time and again that my movie wouldn’t be a typical concert movie, to which I was asked several times: “Oh, so something like Through The Never?” I had to deny that again. We tell a story in our movie most of our fans are already familiar with. So it’s not an entirely new concept, which is already the first distinction from Through The Never. If you only consider that there is a concert part and a feature film part, then those two movies are probably similar. But that also applies to La La Land.

M. Hockenbrink: You describe your movie as a combination of Kiss’ Alive II, Ralph Bakshi cartoons and silent film horror. Is that a kind of childhood dream that comes true there?

T. Forge: Definitely. For as long as I’ve been interested in music, I’ve also been interested in film and television. Working in film could have also been a career option for me, but I always got the rather annoying impression that one would have to go to film school to really find a place in that field. School was never my strong suit, I see myself more as a autodidact in that regard. That I had the opportunity to work on/contribute to my own movie as a sorcerer’s apprentice of sorts is a real privilege. That is a dream come true but it is also something I can picture more of in the future. Next time maybe without the band.

M. Hockenbrink: Can you remember a specific moment in your life when you realised that you were especially drawn to topics that are slightly morbid and unsettling?

T. Forge: I think that due to my family I came in contact with vastly different kinds of pop culture from a very young age. In more traditional families with more conservative parents and siblings of similar ages, you only really start with your respective journey to find yourself in your teens. Then there are often restrictions that are meant to distract from those darker influences. My parents on the other hand are very liberal and my brother was 13 years older than me. There were never limits or censorship for me. My childhood didn’t go by without rules entirely, but I was always allowed to watch or listen to what my brother was also watching or listening to. That way I was exposed to all kinds of teenage culture from the beginning. Sure, I also liked Pippi Longstocking and He-Man. But that was always combined with the French arthouse films my mother liked to watch or the horror flicks my brother was into. I can’t recall a particularly striking horror film experience, but I still remember the first time it dawned on me that movies don’t just exist, they’re made.

M. Hockenbrink: How do you mean?

T. Forge: My father worked as a documentary maker in television. His job was to connect the video track and the sound track in a fitting way for different film production. I saw Jaws on television with him as a small child. It’s important to note that my father is not somebody who can just quietly enjoy films but somebody who likes to butt in. Thanks to him I already had a kind of epiphany during the introduction. He said: “Look closely! There is nothing to see in this underwater scenery except the algae. Technically completely harmless. But it only takes the ominous music to turn the whole scene into pure horror already!” And I thought: Wow! That’s true! Later in the movie you only have to hear that music and it immediately puts you on edge, even when there’s nobody in the water right now. They don’t even have to show the shark anymore. I found it fascinating that the [viewer’s] senses/perception could be manipulated like that. Ever since, I’ve been viewing films with different eyes. I can still allow myself to dive into the story but at the same time I see the practical aspect to film-making.

M. Hockenbrink: I had a similar feeling during the introduction of Shining: technically a cozy road trip in the mountains, but a pure nightmare with the music.

T. Forge: I’m with you on that. Shining is one of the best movies of all time. And funnily enough, only the intro sequence was actually shot in nature. All the other scenes, even if they were outside, were filmed in the studio. Exactly that kind of craftsmanship is what I find inspiring.

M. Hockenbrink: With that in mind, what makes a good soundtrack in your opinion?

T. Forge: We already talked about Jaws, but I can think of Eyes Wide Shut as another example. There is that short piano theme that comes up again and again, incredibly effective. A good soundtrack needs to deliver something that you don’t have to be able to see to perceive its existence. Sure, there are no monsters in Eyes Wide Shut, aside from the main character’s jealousy as an internal monster maybe. But just like the music in Jaws, the theme from Eyes Wide Shut symbolises something that doesn’t have to be shown. The sound is enough. That is also a commonly used effect in adventure and love movies. You just put in a short vignette to describe the love between two characters. In Star Wars, Luke Skywalker also has his own theme, that is used every time when things get emotional and you’re supposed to feel that hope. You’ve got to pay attention to that. Jason Voorhees from Friday the 13th also has a personal theme to recognise him by. Every time you hear it you immediately know “Oh shit, he’s nearby!”

M. Hockenbrink: What about soundtracks that are made up of songs?

T. Forge: With that, I’m especially thinking of Silence of the Lambs. In the scene where Buffalo Bill dresses up as a woman and dances around his basement, a song called Goodbye Horses by Q Lazzarus is playing. I have no idea how the artist felt about that since the song is now so irrevocably connected to that awful scene, that you can’t listen to it anymore without thinking of it.

M. Hockenbrink: Do you feel like soundtrack work is more appreciated now than it used to be?

T. Forge: I think that it’s definitely gained importance over the last 40 years. The right song on the right soundtrack can be incredibly powerful. Just think of Stranger Things. Obviously, Metallica and Kate Bush already had successful careers before, but what happened with Master of Puppets and Running Up That Hill following the series was something else entirely. The songs were associated so strongly with the narrative, that way more people listened to them than before. Of course I’m a strong advocate for live music but I also realised that nothing is as strong as the connection of visuals and music. That is still the most powerful way to appeal to a deeper emotion through the association.

M. Hockenbrink: More or less a shortcut to the subconscious.

T. Forge: Exactly. But you can’t be cynical about that either. If I was an A&R person at a big label, I would probably also say: “You just have to find a spot for one of your songs on a popular soundtrack, then you’ll have made it!” That’s really how it is. But when you view it from an artistic perspective, when you want to reach people a certain way or bring across a certain message or a certain feeling, the combination of visuals and sound can’t be topped.

M. Hockenbrink: It especially lends itself to an immersive experience, as seems to be in the foreground of [RHRN]. An album by Black Sabbath or Iron Maiden ends at some point, then you’re gone from that metal world again. With Ghost, however, you get the feeling that the illusion just keeps on going, across several media. Did you plan the Ghost mythology like this from the start?

T. Forge: In part. When I started with the band, I only wanted to make a standalone album. The concept was supposed to be interesting and practical, but I wasn’t planning for Ghost to be a huge thing. The style I pictured has its own limits in my opinion. The band was supposed to function a certain way and appeal to a certain target audience. The concert was supposed to be a theatrical performance in the literal sense. Ghost were never supposed to perform in a normal rock club nor go on tour. I wanted more of a kind of Vaudeville show in a proper plushy theatre. The band was supposed to be as anonymous as the actors that stand on stage and play, say, Faust. The idea behind this was: Those who don’t know who the people are on stage are more ready to follow the story. Then we would perform three days back-to-back in select cities. Berlin, Amsterdam, London. Just like Diamanda Galás who can more likely be found at a culture festival than in a rock shack. But things turned out differently in the end, and I had to kiss my original ideas goodbye again, so to speak.

M. Hockenbrink: Why?

T. Forge: After the success of our debut album, it became clear to me that more conventional concerts were going to be demanded of us and that I could only really say yes or no. This problem became worse after our shift to a bigger label. It became clear that my vision of telling stories clashed with the live sector and requirements for success more and more. At a certain point anonymity doesn’t work anymore and I had to make peace with that in the end.  I originally didn’t even want to do interviews but that’s obviously tricky when you want to sell records. The question that I constantly ask myself since is how I can do those things best in the Ghost way without denying the original Vaudeville spirit.

M. Hockenbrink: In his autobiography Golf Monster, Alice Cooper talks about himself in third person a lot when he is talking about his character. Are you feeling similarly at this point?

T. Forge: At least I can definitely see where he’s coming from. There is a difference between the person Vincent Furnier and the character Alice Cooper. I believe that he was on the verge of completely transforming into Alice Cooper at one point – to the point where one has to decide where they want to live or die. In the end he decided to remain Vincent Furnier and only become Alice Cooper for work, on stage. So far I’ve been fortunate to combine the two pretty well, but had I started Ghost ten years earlier in my life, it would have probably affected me similarly to how Alice Cooper did with Vincent Furnier in his time. But with my humble experience as an actor I have to say: every character you play becomes a part of you to a certain extent. You have to find certain qualities – good or bad – within yourself to bring such a character to life. I think that most actors only play one or two roles throughout their life that they then end up being known for. The different characters that I’ve portrayed on stage are not only very similar but actually also a part of me. Fortunately a part of me that I don’t want to deal with all day long.

M. Hockenbrink: Too cynical and antisocial?

T. Forge: Cardinal Copia or Cardi, as I like to call him, is not an all-around cool person, but that makes him so fun to play for me. He is half Freddie Mercury and half Jacques Clouseau. Kind of clumsy, kind of silly, kind of stupid. The kind of guy who trips over his own feet but catches himself elegantly. That’s also me in a way, but not just. And I think that’s easier to embody than a daredevil hero character who can rival anyone and gets all the ladies. When somebody plays only those characters their whole life, it will probably really go to their head. Especially when there are drugs involved on top of that.

M. Hockenbrink: With all that fondness of doom that can be found with Ghost, that universe also has something humorous about it, benign even. It that an intentionally included contradiction?

T. Forge: Yes, and it is also very important to me that it comes across like that. For me that also has something to do with the evolution of metal. Originally it was mostly a phenomenon connected to the youth, nowadays the musicians and their fans are close to retiring. That brings a certain maturity. Even the Norwegian black metal musicians who were super pissed and extreme 30 years ago and were only made of hate and aggression are well-adjusted people now. Bearded fathers and grandfathers with a pleasant view on life that make others laugh. I see a certain duality there. Everything that has something to do with goth, with metal, with horror, appears dark, dismal and hostile at first. But in reality, that can all be extremely life-affirming and a source of great joy for many people. So pretty much the opposite.

M. Hockenbrink: Speaking of horror: could you imagine making a real feature film some day?

T. Forge: Yes, I would love that. I’m well aware that it’s not going to be easy to make what I’m picturing a reality, just because I’ve done directing once with [RHRN] now. The creative liberty I got to enjoy there also was due to the fact that I funded the movie myself. So nobody was meddling with it. That is likely completely different when you work on behalf of a big studio, because we are talking about different sums here. If I only go off my dreams, I would name two points of reference. One is Shining, the other Bram Stoker’s Dracula by Francis Ford Coppola. I would like to make a movie that’s only shot in a studio, with elaborate sets, matte painting and all that. No outside shots, no special effects, no green screen. And no actors who only gets to see what they were actually doing after the fact. Proper old-school. The way movies are actually meant to look.

[mactavishsgfandwife]

141 When They’re Sick

bilingual privilege is using your second language to scribble down notes for your tumblr fanfiction in class with the reassurance that no one else will be able to understand what you’re writing 😋 pure fluff (not proofread)

Johnny ‘Soap’ Mactavish

soap has such man flu vibes

i just know he will have a little cold from never dressing appropriately for the english weather (he thinks he can tough it out) (he can’t) and then lays on the sofa for a week, miserable and constantly pining for your attention

he loves a cup of tea when he’s sick but he also swears that irn bru has magic restorative qualities, and "that’s how i keep m’physique, bonnie"

Johnny groans, rubbing his face with his palm as he lays stretched out over the sofa, his feet resting on one arm and a hot water bottle flopped lazily over his stomach. For the most part, the grunts and sighs seem genuine, but you could swear that he makes sure to emphasise his suffering when you walk past, just to let you know what a big strong boy he’s being for dealing with his sore throat and slight headache.

"Head hurts…" he groans, holding a forearm over his eyes to shield them from the light.

"I know, honey… you want a paracetamol?" you pat his head, trying to hide your little, sympathetic laugh.

"Nah, only just had one… Y’could gimme a kiss, though," he grinned up at you, his tone lightening a little.

"Ew! Stop, I don’t want your germs," you laugh, pulling your hand away from his hair.

"Aww, c’mon… might make me feel better," Johnny teases, sitting up a little (he wasn’t really that weak in the first place) and holds your wrist so you can’t escape. When you see the stupid, irritating grin on his face, you know you don’t really care about germs. You just want to kiss him.

Captain John Price

price, when he’s feeling ill, likes to be looked after - the number one cure for ANY of this man’s problems is a warm bath

he loves it when you act like a little housewife for him, running him a warm bath and bringing him a constant stream of cups of tea - sometimes he’ll pretend to be sicker than he is for a little longer than he has to just for a day or two more of being doted on by you. not that you don’t do that anyways.

but he’s a menace when you try to go off shopping or to work - he lays a strong, hairy arm over you, mumbling something about being sick and needing you to stay

if you massage his back and shoulders when he’s feeling sick, he will be so happy. it takes a little longer than when he rubs your back because there’s just more of him, with his broad shoulders and muscular dad-bod (yum)

You have John laying on his front, on the bed, arms crossed under his head. His hair is damp, getting the bedsheets a little wet beneath him, and he has a soft white towel wrapped loosely around his hips - he smells strangely like lavender (he definitely used your shower gel instead of his because yours is nicer - you pretend not to notice, as your hands gently move up and down his sore back).

He’s managed to come down with a bad cold the day after an intense workout, so his body is totally exhausted and nothing really appeals to him other than laying down. Being as fit as he is, you wouldn’t expect him to be in such a state, but the man needs a break and it’s plain to see.

The soft light from the nice-smelling candles that you’ve lit on the bedside table plays in his wet hair, which you gently comb your fingers through.

"You been using my products again, hmm?" you grin with a gentle tone, leaning in closer to him.

"Sorry love…" he starts to respond, his voice a little hoarse.

"It’s okay," you laugh softly, nuzzling your face into his back as you lower yourself on top of him, like a weighted blanket. Your soft hands wrap gently around his scarred sides, as little sighs of contentment leave your mouth.

"What happened to my back rub?" he teases, feeling your body laying against him. Still, he doesn’t a muscle to stop you from cuddling up to him.

As you keep quiet, enjoying the warmth of his body, he chuckles and pulls himself into a more comfortable position below you.

"That’s alright, sweetheart…" he replies to your silence.

Simon ‘Ghost’ Riley

simon would try to be an unphased tough guy but he’d have little moments of weakness

he’d insist that he’s not that sick while taking paracetamol and drinking tea constantly, pulling you close to him as often as he can and being clingier than usual (he’s always touchy, but he is particularly reliant on you now)

he’s in a terrible mood, but just resting his head on your shoulder or holding you while you work helps him… better yet, he loves it when you’re sitting on the sofa and working on your laptop, or watching a film, and he gets to lay down with his head in your lap - with your soft fingers occasionally brushing through his short hair

he’s a tough guy, but when it’s just you and him, he can just lay down with his girl without worrying about being ghost. he’s just simon - poorly simon, with his sweet girlfriend taking care of him.

Phone in your hand, you quietly text your friend about her crazy ex boyfriend and the dress that she’s going to wear out tonight - the red one or the other red one, with the different neckline? You look up to the doorway to see a tall, tired man walk into the sitting room - 6’4", dressed in an old grey hoodie and a pair of pyjama bottoms, ruffling his hair and looking utterly exhausted.

"Thought you were asleep, Si…"

"Can’t sleep," he mumbles gruffly, silently moving towards you and finding a spot to lay his head - right in your lap, his feet resting on the opposite arm of your big sofa.

Understanding his fatigue, you sigh softly and stroke his head as it lays against you. His skin is pale, showing his sickness, and his eyes look tired and dry. A little groan escapes his lips as he shuffles on the sofa, trying to make himself comfortable.

"Love you, darling…" he whispers softly, his eyes shutting in preparation to finally sleep.

Kyle ‘Gaz’ Garrick

i feel like kyle’s love language is food

if you make that man a curry or a good spag bol, he will secretly be making plans to propose to you as he eats it

and that’s all the more true when he’s ill or tired out - some comfort food home cooked by you would mean the world

Gaz had a bad cold and had been hibernating in bed all day, mostly asleep but occasionally watching the football or texting Soap to complain about how sick he is. As you walked into the room, brandishing a bowl of spaghetti carbonara, his eyes lit up.

"Hey, what’s this?" he grins, his voice a little hoarse.

"Carbonara. For you," you chuckle, placing it down on his bedside table, "I have some work stuff to finish, I-"

"Y’could just stay with me instead. I’ve been locked up in here all day," he teases.

"You’ve been asleep all day! I really need to… well…"

"Come on, baby."

You struggle to hide the grin that’s creeping onto your face, not wanting to procrastinate your work any longer (this wasn’t the first time Kyle has stolen you away from typing up emails) but he got what he wanted when, a moment later, you were cuddled up to him. Wearing his tshirt and your underwear, with your head resting on his shoulder.

"Oh my God, this is so good!" he chuckles, eating, voice still strained from the sore throat. He’s mostly just happy to have you next to him (oh, as well as the pasta).

gaz is my babyyyyyyy i don’t think you guys get it 😣😣😣 this took an age and a half to write i hope it’s up to standard thanks for reading!! xx

[reagent-leon]

GUYS!!! Stop saying Coyle is singing his ABCs wrong!!

"T, P, D, A, T, F, C, I, A, F, B, I, U, S, P, I, S, D, O, D, S, S, S, U, S, A."

He's not singing his ABCs he's just using the same tune, they're all acronyms

TPD = ?*

ATF = Bureau of Alcohol, Tobacco, Firearms and Explosives

CIA = Central Intelligence Agency, 

FBI = Federal Bureau of Investigation, 

USPIS = United States Postal Inspection Service,

DOD = United States Department of Defense,  

SSS = Selective Service System, 

USA = United States of America

Okay? So let's all stop saying he's uneducated or illiterate because he's definitely not. Pre-Sinyala Coyle kept "obsessively complete notes" according to Clyde Perry's account, and furthermore just look at his pretty handwriting on the evidence boxes, that's not an uneducated scrawl. Coyle is willfully ignorant, but he's not lacking in basic literacy skills.

"But Leon, why did he misspell Guilty as Giltee on the Scapegoat?"

Well, friend, I don't entirely know. But as he's spelt it correctly in other places, he probably did it on purpose, matching his dialect to emphasise his point. Maybe he just forgot about the U and by the time he'd started carving the L he knew he needed to commit to his fuck up.

*Sooo I have some theories as to what TPD could stand for.

Total Permanent Disability. In one of Coyles' dialogues, he mentions his Father losing his foot in the Battle of Hürtgen Forest. That injury would likely see him permanently disabled and unable to work as he had before (it's implied that Coyles' parents were cattle ranchers), therefore he would be entitled to welfare checks.

Tulsa Police Department. Tulsa and Blackwell are within 2 hours drive of each other and it's very possible that Coyle completed his training at the Tulsa Police Academy before going on to work for the Blackwell Police Department. Tulsa also has history of violent racism, which would appeal to Coyle.

Tactical PSYOPS Detachment/United States Psychological Operations. There was extensive use of psychological operations in World War II, and given everything that the Outlast Trials are about I think this is a worthy contender.

Tobacco Products Directive. This was the only other thing I could think of that would make sense in conjunction with Coyle, but it's a European Union directive, and therefore I think it's unlikely this is what Coyle is referring to, but I still thought it was worth mentioning.

If you have any better ideas please feel free to share them!

A big big thank you to my friends in the Coyle Crew: @misa-bun @soggy-bean and @mortisdeth for their help in researching, theorising and giving me moral support when I thought I was about to lose it

[turquoisedata]

There are a lot of refund requests for the Kickstarter and Terry's estate is struggling to process them all. If you haven't heard back, make sure you got the auto response. They won't necessarily respond before tomorrow's deadline but they will honour the request, according to the faq.

The deadline if you want a refund is TOMORROW. Friday 7 February 2025.

Email is kickstarter@terrypratchett.com

NG isn't getting the proceeds. He's quite possibly received a one-off payment, but that likely won't change depending on how many copies are sold and how many refunds requests are received. We can't know for sure but it's still his IP and the statement was carefully worded.

I'm not saying I think you should get a refund. I'm not saying I think you shouldn't. I haven't even decided myself. The idea of cancelling makes me cry. The idea of not cancelling makes me cry. I am in no position to tell anyone anything. But that's the deadline, folks. I'm just passing it on.

Text of the screenshots under the cut

Here, you will find the key information for the Good Omens Kickstarter, and PledgeManager.

*** FOR THOSE WHO HAVE CONTACTED THE ESTATE FOLLOWING THE JANUARY 2025 KICKSTARTER UPDATE ***

6 Feb 2025: To confirm: anyone who has been in touch during the refund window that ends of 7th February will be refunded, or have their pledges altered, as requested. We are working through a high number of queries and appreciate your patience.

What if I haven’t heard back before 7th February?

We have received a high number of queries and though we have tried to respond, we are unable to address all queries as they come in and are now focusing on refunding as the priority. We are now replying as we are processing the refund, or as we require more information to action the request. We apologise for the inconvenience on this, or perceived silence – as a small team we are working through these as quickly as possible but want to emphasise that if you have been in touch we will get back to you and aim to have responded to everyone by Monday 17th February.

What if I haven’t been refunded before 7th February?

You will still be refunded. We have been processing refunds across the week since the Kickstarter update, however the Kickstarter system is not optimal for processing refunds at this scale, so these are being done in waves. We will get back to you as soon as we are able.

3 Feb 2025: We are currently receiving a higher volume of emails and Kickstarter messages than usual, and are working through them as quickly as possible.

Please note that any requests received by the 7 February deadline will be honoured, as per the update. Do not worry if your refund or product alterations has not been processed by then – we will be working through everyone who has been in touch during the window and will continue until they are all fulfilled, for as long as it takes to clear everyone who has been in touch. We anticipate this may run across the month of February.

If you have emailed and received the autoreply – that is your confirmation that we have received your email. If you have been in touch via Kickstarter, there is no autoreply, but your message will have been safely received if you can see it in your sent messages. We are working through these chronologically where possible, so please note repeated chases keep pushing your messages further down the inbox, and so we apologise if it seems we are taking longer than expected to reply.

We appreciate your patience and will continue working through everything.

– The Terry Pratchett Estate

[nayoungs-archive]

𝐢. 𝗇𝖺𝗒𝗈𝗎𝗇𝗀'𝗌 𝗌𝗄𝗂𝗇𝖼𝖺𝗋𝖾 𝗀𝗎𝗂𝖽𝖾!

disclamer! these tips are all from experience, they've been tried and tested by yours truly. please note that i am not a skin specialist, and if you have any major skin concerns, visit a dermatologist! always remember that you are beautiful just the way you are, and these tips are aiming to help you achieve a healthier overall lifestyle.

i. skin types: everyone's skin is different! so, the first and most important step is to find out what kind of skin you have. is it oily? is it often dry? is it sensitive to certain products? determining your skin type will aid you in finding products that work for you, making it a crucial step.

ii. drink more water: i know, you've heard it a million times! but i cannot emphasise how important it is to drink water! not just for your skin, but it benefits your overall health and well-being. dehydration can cause dryness, and oiliness- which can lead to heat boils and breakouts. drinking 2-3 litres of water every day can clear up your skin significantly!

iii. avoid oily and fried foods: health begins on the inside, so we must nourish our skin the same way! oily foods can clog your pores, and make your skin greasy. in general, processed and fried food is bad for your health as it is full of preservatives and artificial flavouring. although it is important to treat yourself from time to time, avoid eating these on a daily basis.

iv. stop touching your face: i understand how hard this might be for some of you because we end up subconsciously touching our face from time to time, but not touching your face is a crucial habit and you must train yourself to reduce the number of times you touch your face. touching your face with unwashed hands makes your skin oily and dirty. song jia revealed she only touches her face while applying basic skincare or washing her face. it seems impossible, but you can do it!

v. apply sunscreen daily: no matter what, you must include sunscreen in your skincare routine. regardless of the weather, it's important since the uv rays from the sun harm your skin, and pollutants in the air (especially in the city) can damage your skin significantly. i use neutrogena and it's super lightweight and gives your skin a glowy and clean look.

vi. weather matters: weather conditions play a big role in determining which skincare products you should be using. for example- if you live near the sea coast, you might not need to moisturise due to severe humidity, but if you live in a cold and dry country, a heavy moisturiser might be advisable! if you are interested in skincare tips for people living in tropical countries- comment!

vii. facewash usage: again, it depends on where you live. i personally live near the coast, so i end up washing my face thrice a day due to constant sweating. during winter, take a call on whether you need to use a facewash in the mornings. over-cleansing can strip your skin of natural oils, which does more harm than good. if the climate where you live is not too severe, i would recommend washing your face twice a day.

nayoung's note: hope these tips helped you! feel free to let me know how they worked in the comments.

[philaet0s]

Celebrity/Social Media AU - Part 8

Previous Part: Part 7

Next Part: Part 9

More written POVs! There will be one more and then back to the fake twitter updates aha

‼️ mature content ‼️

Simon

Baz said he had a “surprise for me for my birthday.” I would say that the presents –plural–, lunch in my favourite restaurant in the city, afternoon tea at the Ritz –I don’t like when Baz makes me spend the night here, but god, do I love the food and tea–, and the two hours we spent wrapped around each other on the couch during which he read to me were already more than enough, but it seems he has something else in mind. And it’s something we’re doing outside the house!

It’s actually kind of rare for us to do that. Leave our place. We go to the restaurant once in a while, but that’s all. It gets messy, Baz gets recognised, and we both prefer staying inside anyway. I only like being outside if I can run around in a large field like an overexcited puppy, and that’s hard to do in central London.

We go to his recording studio. Uh?

I follow him, my mind reeling with ideas. It’s rare for him to take me here. It’s only happened a handful of times since we’ve been together. That’s his workplace; I don’t make a habit of taking him to the kitchen of my bakery either.

I don’t even question the fact that it’s 1 in the morning and the studio has been closed for hours. I suppose when your family owns it, you can come whenever, though I already know he’s going to get a text from Fiona in the morning when she finds out the alarm was deactivated in the middle of the night.

He sits in the chair in front of the computer and searches for a specific file. He hasn’t told me what I should be doing, but I suppose if we’re here, we’re going to be listening to music, so I come and stand behind him. The sound is better here than when you’re sitting on the couches by the wall, or so Baz said last time we came. (His musicians were there too last time, though. It was a proper album listening party. We had food and drinks, it was great.)

“There you go,” he says, as he clicks on an audio file. He pauses it before I can hear the first note. “I wrote this for you. I recorded it before I went on tour. I’m… very excited for you to hear it.”

My face splits in a grin. Oh, how much I love the songs he writes for me…

I lean down and kiss his cheek, which is a little pink. He’s so cute.

He pushes the chair away from the table, forcing me to step aside. Then, he pats his thigh. “C’mere, will you.”

Gladly.

I sit on his lap, and he closes his arms around my waist. He has to fully extend his arm to be able to click play.

Music immediately fills the room. It’s not the gentle kind of production I was expecting. Baz’s songs for me –the ones he makes just for me, not all the songs he writes about me– are often ballads. He’s romantic like that.

Not this one.

That’s something that could be played at a club. Or one of his concerts. It’s unusual, but I like it.

The lyrics are less surprising than the production. They’re brilliant, his lyrics are always brilliant, and convey a perfect blend of love and lust, though the rasp in his voice definitely emphasises the lust part.

So does his hand on my thigh. He’s tapping the rhythm of the song. It’s a very innocent touch. It’s driving me insane.

When the music stops, I clear my throat and try to collect myself. (It’s hard. I’m sitting on him for fuck’s sake.)

“It was very good.”

“Very good? That’s all?”

His finger is doing a lot more than just tapping my thigh. He slid his hand down, his entire palm cupping the inside of my thigh. He moves it up and down absentmindedly.

His index finger is now dangerously close to my crotch. Not close enough.

I swallow. I feel like a teenager, but can I really be blamed? It’s been a while. And he’s so… And the song was…

“I… I liked the… lyrics.”

“Yes? Anything else?”

He slides his hand up. He’s properly touching me now. I don’t even have enough clarity to be embarrassed that I’m already rock hard. “The chorus. It’s… memorable.”

He unbuttons my jeans. His lips are on my neck. “Y– Your voice. I like how… how much deeper it… fuck…” His hand is cold. “...sounds. During the chorus.”

He hums, and that could honestly finish me off.

“You like my voice deeper?” he asks. In that deeper voice. As he strokes my cock.

Goddammit.

He nips at my neck. “I have an idea. Come with me.”

And just like that, he takes his hand out of my pants. I might just explode.

“Baz.”

I see him press a few buttons before he takes my hand.

“Come with me,” he repeats.

He’s walking up to the door that leads to the other side of the studio, behind the glass panel.

I have no clue what he has in mind, but what choice do I have but to follow him?

He promptly presses me against that stupid glass panel and crashes his lips against mine. That’s better.

—————————

You guessed it, the next part will be smut

I’m posting it later today!

[fan-goddess]

Could you do Tom Bennett X corruption/innocence and stepcest for kinktober?

Authors Note: Of course! Though because stepcest wasn’t in my original list, I won’t be writing it whilst I do this. I have nothing bad towards it I just don’t want to write it if I haven’t established I’d write, if that even makes sense? Hope you still enjoy it though!

Warnings: Corruption, innocence kink, some blasphemy, oral f receiving, choking, claiming, almost a yandere sort of thing if you squint cause it gets sorta dark at the end (if I forget/miss any let me know!)

Taglist: @sofiyathecunt, @marvelgirl123, @sylasthegrim, @mochi-rose, @valeskafics, @humanpurposes, @watercolorskyy, @blue-serendipity, @omgbrcat, @madelynwal,

Tom Bennett remembered the day you moved next door as clear as day.

He remembers looking out the top window of the house at the sound of chatter down bellow, and seeing you right then and there practically seemed to take his breathe away.

He remembers that you wore a light pink sundress whilst you helped your family out with the moving boxes, and most clearly of all how it flowed with the slight breeze, rising up slightly to show your no doubt soft thighs to him.

After he’d gone downstairs and insisted he’d help you with the boxes, claiming a pretty lady like yourself shouldn’t risk dirtying her palms with hard labour, the blush you rewarded him with was all worth it.

Ever since then, it was moments like that what brought him all that closer to the heaven between your thighs.

Complimenting your non-revealing clothes that every time he sees you in them makes him want to tear them off and see what’s underneath. Insisting he helped you with carrying anything into the house just so he could get a look at the layout for any future visits.

It was how he had access to your house currently.

“Let me carry that for you love! Can’t have a pretty girl like you getting yourself all dirty now can we!” He grins, taking ahold of the bag on your shoulder like clockwork and walking towards the door with you trailing behind him like a puppy on a lead.

“Thank you Tommy, but you do know you don’t need to always do this?”

“Nonsense love! Gotta look after my pretty woman!” He insists, smirking to himself when he sees the familiar light blush taking over your cheeks as you unlock the door for him.

Tom walks over the dining table as usual and begins to unpack the bag. It’s just regular food items. Apples, some meat products, eggs, that sort of stuff. Yet still, he takes his time unpacking it all to stare at you just standing there pretending not to watch his arms whilst he stretches them purposefully to put stuff in the cupboards.

“Need help with anything else love? Mummy and daddy gone for the day have they?”

“Oh yes they’ve gone to visit nana in Norwich, as she hasn’t been feeling well lately according to her letters. But Tommy I don’t need anything else! Really!” You insist, shaking your head to emphasise.

“Oh well love, it’s a good thing I think your being a bad girl and lying to me…” Fuck… if this goes South he’ll never forgive himself. But it’s now it never really, Tom thinks stepping towards you slowly.

“I-I don’t know what you mean-“

“Oh I think you do!” Tom insists, practically stalking towards you till your backs against the doorframe, and his own body leans over yours with an arm over your head for that extra affect.

One good thing about the position. He can see your chest rapidly rising up and down with your shallow breaths you cannot seem to be able to hold.

“I think you’ve been a naughty girl indeed. A naughty girl who goes as far as touches herself to the thought of her neighbour…” It’s a wild shot in the dark, even he has to admit as he murmurs it into your ears. But by the way your eyes widen and sink to the floor while you bite up lower lip hard between your teeth, he suddenly feels like he’s hit a bullseye playing darts drunk.

“How did you know…” You whisper, your eyes locked only on the floor by his feet. But when he places a finger on your chin to lift your head and meet your eyes, he almost chuckles seeing your innocent eyes staring so intently at him.

“It doesn’t matter right now little one. All that matters, is this.” Tom feels his heart may fall from his chest with how hard it beats, as he leans his head forward and connects lips with you.

He can tell your inexperienced. Your clumsy with how your lips move whilst his own hold back dramatically in the intensity he wishes to unleash on you.

Yet your hands seem to have a mind of their own.

One clasps around the hair on the back of his neck to tug slightly, whilst another clenches on the front of his plain shirt.

It seems that you are as keen for this as he is…

“What an eager girl…” Tom grins, detaching himself from your lips and smiling at your whine of annoyance.

“Maybe we should go to your bedroom little one. I’m curious to see if the carpets match the drapes…”

The blush Tom is rewarded with as he leads you to upstairs, nearly is better than what he wishes to achieve.

When he gets up the stairs with you in tow, Tom looks for you to lead him to where he needs to go. And it is with great amusement when he gets lead into a room right of the landing, that is bright pink and filled to the brim with books of all titles.

“My little ones a little scholar is she?” Tom muses, teasing you as he leaves lingering kisses on your lips, the sound of which echoes in the small room. He barely thinks there’ll be enough room for the two of you there, but even he thinks it’s a bit too far to suggest your parents bed. Not with what he want to do to you anyways.

“Tell me little one. Have you read on any human anatomy before?”

“Yes Tom. I have. Though not much. Daddy didn’t like me reading them as he said they were too dirty for me.” You murmur, clinging to his clothing almost desperately.

“Well. What I am about to teach you, will be more helpful than any of those books you’ve ever read.” Tom whispers, slowly unbuttoning the clasps on your dress to reveal yourself to him.

And when Tom gently positions you on the bed where you’re left laying naked for him to ogle and admire, Tom feels practically breathless.

Your tits and naked body feels like such a temptation, that he feels at liberty to compare it to Eve and the apple. Only his desired fruit is a lot more wet and sweeter than some normal apple…

When he kneels and leans forward and begins to taste you, he can’t help himself from groaning and taking your body in his hands to keep you still whilst you thrash above him. Your hands gripping tightly in his hair whilst you cannot seem to handle this new sensation running through your whole body.

“Oh fuck Tommy so good please please pleeease I can’t- I can’t-“ You scream, “S-somethings happening! I think I need to pee” You whine some more. It’s unsurprising that a girl like yourself would know what is happening. Yet even still Tom takes sick pleasure in depriving these forbidden desires from you. Knowing he’s the one whose taught you this feeling. Knowing he’ll be the only one showing you this feeling.

When he feels the sudden flood of flavour of your juices as you cum, the death grip he has on your thighs will no doubt leave marks as he makes sure he’s licked every once of your pleasure from you. And when he’s hears the small whimpers of overstimulation, that’s when he knows he’s only just begun to achieve what he wanted.

Tom stands near to full height before he begins to undo his belt and his trousers. The smug and satisfied smirk on his face going unnoticed by you as you all but ogle his erection that strains from his underwear.

“W-will it fit?” You whisper, your voice sounding hoarse from your onslaught of shouts and screams from earlier.

“Doesn’t matter either way little one. I’ll make it fit whether your pretty little cunt can take it or not…” The dark tone he uses sending shivers even down his own spine as he takes his cock in hand and tugs it a couple times till he’s fully hard, before kneeling slightly and directing it to your already dripping again entrance.

As Tom enters you slowly, his eyes train only to look at your face, no matter how badly he wants to see your cunt swallow him. As the sight of your face forming that flushed dazed look is honestly better than anything he’s seen in his life. And it only gets better when he begins to slowly shallowly thrust into you in a strange mercy move, and your eyes shut tightly and your mouth makes an ‘O’ shape whilst you moan.

It’s as if he’s died and gone to heaven.

“Such a good girl for me…” He groans, finally looking down and seeing how a slight ring of your juices has already formed on his cock. “Swallowing me so well…”

He doesn’t speed up as much as he wants to. Only a little so he can wait and hear you beg for him.

“P-please Tommy! I need more!” There it is, he thinks, seeing your open your eyes slightly to look at him all prettily whilst they appear to water in front of his very eyes. “I neeeeed it!”

“Well then, who am I to deny my pretty little thing what she wants…” Tom grins, before thrusting his whole cock inside of you quickly and already picking up the pace to thrust at a steady pace.

The sounds of your whines and whimpers as you try to contain yourself makes Tom smile satisfactorily while he all but ruts into you. And when he places a hand on your throat in a no doubt claiming manner, the sounds you reward him with are music to his ears.

“Good girl… such a good girl…” Tom groans, his thumb tracing illegible things on your swollen clit that leaves you practically screaming beneath him once more.

“T-Tom, t-that feelings happening again!” You cry, digging your blunt nails into the skin of his back that causes small sharp grunts to leave him the deeper you push them into his skin.

“It’s okay little one… you can cum… do it now!” With a deep almost possessive growl coming from deep within his chest, Tom can feel your tight cunt clench around him, and his own release comes soon after as he locks his legs around your own to keep him as deep as possible.

“You were such a good girl for me…” Tom murmurs, dotting wet kisses along the length of your naked torso. He even smiles faintly when he nibbles slightly on your skin at random times and small hesitant noises chirp from your throat when he does so. “Such a good girl…”

“Tom…” You murmur, your eyes barely keeping open as they attempt to look at him all serious. It was adorable to look at really.

“Yes pretty girl?”

“What going to happen now…”

Tom looks up at you with dark hooded eyes, and when he meets your own, he can’t help himself from cupping your jaw firmly with his palm to make sure you’re awake and looking at him with wide eyes.

“What happens little bird, is that i’m gonna look after you now. And nobodies gonna touch you, not when I’m here. Not ever… not over my dead fucking body…”

[dailyanarchistposts]

E.1.1 Is industry the cause of environmental problems?

Some environmentalists argue that the root cause of our ecological crisis lies in industry and technology. This leads them to stress that “industrialism” is the problem and that needs to be eliminated. An extreme example of this is primitivism (see section A.3.9), although it does appear in the works of “deep ecologists” and liberal greens. However, most anarchists are unconvinced and agree with Bookchin when he noted that “cries against ‘technology’ and ‘industrial society’ [are] two very safe, socially natural targets against which even the bourgeoisie can inveigh in Earth Day celebrations, as long as minimal attention is paid to the social relations in which the mechanisation of society is rooted.” Instead, ecology needs “a confrontational stance toward capitalism and hierarchical society” in order to be effective and fix the root causes of our problems. [The Ecology of Freedom, p. 54]

Claiming that “industrialism” rather than “capitalism” is the cause of our ecological problems allowed greens to point to both the west and the so-called “socialist” countries and draw out what was common to both (i.e. terrible environmental records and a growth mentality). In addition, it allowed green parties and thinkers to portray themselves as being “above” the “old” conflicts between socialism and capitalism (hence the slogan “Neither Right nor Left, but in front”). Yet this position rarely convinced anyone as any serious green thinker soon notes that the social roots of our environmental problems need to be addressed and that brings green ideas into conflict with the status quo (it is no coincidence that many on the right dismiss green issues as nothing more than a form of socialism or, in America, “liberalism”). However, by refusing to clearly indicate opposition to capitalism this position allowed many reactionary ideas (and people!) to be smuggled into the green movement (the population myth being a prime example). As for “industrialism” exposing the similarities between capitalism and Stalinism, it would have been far better to do as anarchists had done since 1918 and call the USSR and related regimes what they actually were, namely “state capitalism.”

Some greens (like many defenders of capitalism) point to the terrible ecological legacy of the Stalinist countries of Eastern Europe and elsewhere. For supporters of capitalism, this was due to the lack of private property in these systems while, for greens, it showed that environmental concerns where above both capitalism and “socialism.” Needless to say, by “capitalism” anarchists mean both private and state forms of that system. As we argued in section B.3.5, under Stalinism the state bureaucracy controlled and so effectively owned the means of production. As under private capitalism, an elite monopolised decision making and aimed to maximise their income by oppressing and exploiting the working class. Unsurprisingly, they had as little consideration “first nature” (the environment) as they had for “second nature” (humanity) and dominated, oppressed and exploited both (just as private capitalism does).

As Bookchin emphasised the ecological crisis stems not only from private property but from the principle of domination itself — a principle embodied in institutional hierarchies and relations of command and obedience which pervade society at many different levels. Thus, ”[w]ithout changing the most molecular relationships in society — notably, those between men and women, adults and children, whites and other ethnic groups, heterosexuals and gays (the list, in fact, is considerable) — society will be riddled by domination even in a socialistic ‘classless’ and ‘non-exploitative’ form. It would be infused by hierarchy even as it celebrated the dubious virtues of ‘people’s democracies,’ ‘socialism’ and the ‘public ownership’ of ‘natural resources,’ And as long as hierarchy persists, as long as domination organises humanity around a system of elites, the project of dominating nature will continue to exist and inevitably lead our planet to ecological extinction.” [Toward an Ecological Society, p. 76]

Given this, the real reasons for why the environmental record of Stalinist regimes were worse that private capitalism can easily be found. Firstly, any opposition was more easily silenced by the police state and so the ruling bureaucrats had far more lee-way to pollute than in most western countries. In other words, a sound environment requires freedom, the freedom of people to participate and protest. Secondly, such dictatorships can implement centralised, top-down planning which renders their ecological impact more systematic and widespread (James C. Scott explores this at great length in his excellent book Seeing like a State).

Fundamentally, though, there is no real difference between private and state capitalism. That this is the case can be seen from the willingness of capitalist firms to invest in, say, China in order to take advantage of their weaker environmental laws and regulations plus the lack of opposition. It can also be seen from the gutting of environmental laws and regulation in the west in order to gain competitive advantages. Unsurprisingly, laws to restrict protest have been increasingly passed in many countries as they have embraced the neo-liberal agenda with the Thatcher regime in the UK and its successors trail-blazing this process. The centralisation of power which accompanies such neo-liberal experiments reduces social pressures on the state and ensures that business interests take precedence.

As we argued in section D.10, the way that technology is used and evolves will reflect the power relations within society. Given a hierarchical society, we would expect a given technology to be used in repressive ways regardless of the nature of that technology itself. Bookchin points to the difference between the Iroquois and the Inca. Both societies used the same forms of technology, but the former was a fairly democratic and egalitarian federation while the latter was a highly despotic empire. As such, technology “does not fully or even adequately account for the institutional differences” between societies. [The Ecology of Freedom, p. 331] This means that technology does not explain the causes for ecological harm and it is possible to have an anti-ecological system based on small-scale technologies:

“Some of the most dehumanising and centralised social systems were fashioned out of very ‘small’ technologies; but bureaucracies, monarchies, and military forces turned these systems into brutalising cudgels to subdue humankind and, later, to try to subdue nature. To be sure, a large-scale technics will foster the development of an oppressively large-scale society; but every warped society follows the dialectic of its own pathology of domination, irrespective of the scale of its technics. It can organise the ‘small’ into the repellent as surely as it can imprint an arrogant sneer on the faces of the elites who administer it … Unfortunately, a preoccupation with technical size, scale, and even artistry deflects our attention away from the most significant problems of technics — notably, its ties with the ideals and social structures of freedom.” [Bookchin, Op. Cit., pp. 325–6]

In other words, “small-scale” technology will not transform an authoritarian society into an ecological one. Nor will applying ecologically friendly technology to capitalism reduce its drive to grow at the expense of the planet and the people who inhabit it. This means that technology is an aspect of a wider society rather than a socially neutral instrument which will always have the same (usually negative) results. As Bookchin stressed, a “liberatory technology presupposes liberatory institutions; a liberatory sensibility requires a liberatory society. By the same token, artistic crafts are difficult to conceive without an artistically crafted society, and the ‘inversion of tools’ is impossible with a radical inversion of all social and productive relationships.” [Op. Cit., pp. 328–9]

Finally, it should be stressed that attempts to blame technology or industry for our ecological problems have another negative effect than just obscuring the real causes of those problems and turning attention away from the elites who implement specific forms of technology to further their aims. It also means denying that technology can be transformed and new forms created which can help produce an ecologically balanced society:

“The knowledge and physical instruments for promoting a harmonisation of humanity with nature and of human with human are largely at hand or could easily be devised. Many of the physical principles used to construct such patently harmful facilities as conventional power plants, energy-consuming vehicles, surface-mining equipment and the like could be directed to the construction of small-scale solar and wind energy devices, efficient means of transportation, and energy-saving shelters.” [Bookchin, Op. Cit., p. 83]

We must understand that “the very idea of dominating first nature has its origins in the domination of human by human” otherwise “we will lose what little understanding we have of the social origin of our most serious ecological problems.” It this happens then we cannot solve these problems, as it “will grossly distort humanity’s potentialities to play a creative role in non-human as well as human development.” For “the human capacity to reason conceptually, to fashion tools and devise extraordinary technologies” can all “be used for the good of the biosphere, not simply for harming it. What is of pivotal importance in determining whether human beings will creatively foster the evolution of first nature or whether they will be highly destructive to non-human and human beings alike is precisely the kind of society we establish, not only the kind of sensibility we develop.” [Op. Cit., p. 34]

[lukes-curls]

by the way, i read r. f. kuang’s ‘babel’ the other day and holy secret history, i was obsessed. a literal dream bleeding ink and bound with glue and paper. i have never ever read anything like it— the ingenuity of using a mortar and pestle (figuratively speaking) to grind truth and fiction until the two blend into some frankenstein’d being not unlike the english language. the thesis of its fiction is a function of its very structure.

there is a point to this paragraph. i was brought up aware of many religions (i received communion in my hometown catholic church every sunday with my great grandma, and afterward sipped grape juice and played cricket at an anglican sunday school with my best friend and her nan, read ‘buddhism for kids!’ at the local library when i was eight and now i study theology and english at uni) which is to say i was introduced to the tower of babel parable in genesis veryyy young. i remember thinking it was so curious probably because i was young and everything was exciting and it was one of those moments where so many things align and it just feeds your interest. i think the same year i learned about the story i also started learning french. (i can speak at a toddler’s capacity thanks to self doubt but writing and reading, i am fluent).

coming into my adult years, dragging all of that with me, i wrote my thesis loosely based on this slippery idea of absolution (because really that’s what this is all about— trying to get to the absolute ideas of things) and how we are practically locked outside of the absolute truth of things by our language, first, and by each other, second. babel emphasises this in ways i can’t even fathom or put into words. i guess what i am trying to say is that as someone who was brought up in an in between of sorts, who was blessed and so exposed to a multitude of perspectives of one thing, i believe that absolutes are moot. thinking and writing in absolutes are kapoot. we are fluid beings. we change our mind, nothing is as permanent as a kiss to a backspace key and i just think that we must account for this before we bring ourselves to ruin.

kuang’s mind is genuinely so immense and i would love to walk around her mind for a day. it was so interesting to me this idea of flying too close to the sun, of grasping at rocks and binding to get at god through literature and being punished cardinally for it. lord, deliver me from evil! and forgive my trespasses! and though i’m not necessarily an expert in any of this, just a philosophy/english student who loves to read and build my web of interests, and nor am i necessarily loyal to a sole strain of faith (this was clear when i learned about how the spanish bury god in their architecture), it really awoke something that has laid dormant in me for too long of a time. also RAMY!!! RAMY AND BIRDIE!!!! i cried. like actually cried. i don’t think i can even talk about them. i will admit my sole critique is that some of the characters fell flat to me but this is definitely a sacrifice to make the novel read as an academic transcript, something that exists after (the immortality of fiction is frightening but i love it) (WHY ARE WE STILL BANNING BOOKS IT MAKES ME WANNA TEAR MY HAIR OUT D:).

also i adore how it reads as an academic transcript, complete with footnotes and citations that i implore you to look at as you read if not to learn actual factoids about translation theory then to further your immersion in the fiction. the insanity of writing additional notes in the margins ties into that idea further— in a paragraph, one can TRY their hardest to communicate an idea but there will always be more to explain to successfully convey an idea or action from one person to another. language is an ouroboros— and translation is a product of fallacy we delude ourselves into thinking is real. but still we try! and still it is a necessary endeavour!

the narrative itself pulls from many inspirations, one of which is so glaringly obvious; orwell’s 1984. i mean, double speak— professor LOVE-ll, HELLO! the cantonese robin recites warning father and death. i think gulliver’s travels is blatant, too, among others i admittedly dont recall because this was like a week ago.

anyway i guess what i’m trying to say is kuang’s ability to smelt the idea of translation between languages into the translation between people who are displaced from one country to another and distill it into this potent idea of loss. THERE IS ALWAYS LOSS IN TRANSLATION (which babel proves extends beyond going between one language to another) because of context, bias, and the fallacy of truth. it was immaculate. five stars. i can’t stop thinking about it and i read it a week ago.

[putschki1969]

Hi Sarah

How are you?

After watching numerous live performances in Japan and outside of Japan, I have come to the realization that the Spacecraft worked hardly to ensure the success and fame of Kalafina. However, I have come to believe that the type of music performed by Kalafina may not appeal to everyone or align with the preferences of the Japanese people. As a result, my sentiments have shifted, and I now feel sense of respect and gratitude towards Spacecraft and their work over the 10 years. I believe that if they weren't good, Yuki Kajiura-san would not have remained with them for such a significant duration. It's important to note that these thoughts are solely based on my personal feelings and not backed by any research.

Hello there!

So sorry, it took a while to get to this message, I have been very busy lately.

I am good, thank you for asking😊 Hope you are doing well too!

Everyone who has been following my blog for a few years will know that I am probably one of Space Craft's biggest advocates. I've certainly had my complaints about them and I am by no means saying that they are without fault or the best agency out there but in the grand scheme of things, they have always done a decently good job at representing Yuki Kajiura, Kalafina and now Wakana. There have really been no public scandals that would warrant us deeming them a "horrible" or "bad" company. Once in a while, there are whispers of outlandish rumours but nothing so far has been substantial or even remotely incriminating.

Have they made stupid decisions? No doubt. Have they made big mistakes? Absolutely! Could they have handled the disbandment better? For sure! Would any Japanese talent agency have done a better job? No!

And that's the point. People need to realise that all Japanese talent agencies are cut from the same cloth. None of them are particularly great. Most are actually awful. A majority of them are run by middle-aged dudes who have been in the industry for way too long. Lots of fragile sensibilities and old-fashioned mindsets. Just look at the trajectory of Hikaru's solo career so far. It's a whole mess. But as long as you don't hear stories of exploitation or sexual harassment, I would say it's a win.

As you have surmised, there is no way that someone as strong-minded and assertive as Yuki Kajiura would have ever remained with them for such a long time if they were as horrible as many fans make them out to be. Wakana also wouldn't have chosen to stay with them if they didn't have some redeeming qualities.

And I will never get tired of emphasising the crucial role that Space Craft played in Kalafina's popularity. Say what you will but Space Craft built the "Kalafina" brand as we know it. It's correct that Kalafina's type of music isn't exactly mainstream so if it hadn't been for Space Craft's persistent marketing to push them in a more "mainstream" direction, Kalafina would not have been able to attract such a wide audience. The tons of merchandise, the frequent releases, the constant touring, the regular event appearances, the more elaborate stage productions, all of this helped catapult Kalafina to a Budokan level and beyond. They never took a full dive into the idol world but they certainly borrowed some methods. However, throughout all of this, Kalafina's core "image" remained intact, they allowed Yuki Kajiura free rein in terms of music and until the very end, the beautifully layered vocals were the main selling point for Kalafina. So yeah, even if it sounds weird to some people, at the end of the day I feel grateful to Space Craft.

[mario-breskic]

Experiments on rainy Sundays in a village in the South of Germany

A cup of coffee in which a couple of spoons of vanilla ice cream from a local manufacturer float, finally some cool hours.

A messy sleeping schedule still leads to enough rest after all, some thoughts about how change is the driving force, how entropy is itself time, and the slow realization of how many projects pop up during a rainy Sunday in a vilagge in the South of Germany.

Maybe I will put together a Bookwyrm instance to amuse myself with, but listening to my inner nation of thoughts and voices I find myself aware of how further fragmentation of the digital shadow across more and more accounts leads to a strange effect where each fragmentation becomes its own identity, each its own shadow missing parts from all other fragmented shadows, filling the gaps (maybe if not paying attention? maybe?) with whatever is there, around you.

So maybe, instead, I am not the person who wants one tool for one task after all. Maybe I am the type of person who will experiment with tools for tasks, whether these tools are fit for, ready‑made and jury‑rigged, and the kitchen sink, too.

Maybe identity is much less about words after all.

Maybe I will look into putting together a tumblr template, inspired by the, to me, outstanding ones used by @aminotes and @searchsystem, respectively and use that.

In general, since I have put quite a bit of work (and money) into making do with the fragmentation (and storing most of these shadow fragments into my own hypertextual core system made up of Microsoft’s OneNote and OneDrive), I think I also want to emphasise that I really believe that a person like me should experiment more with how far a system can be pushed and hacked, instead of replacing this exploration of applying your own ideas and desires with the acquisition and use of a new product.

This is basically my process these days: I get the thoughts out, and then I realize that I can build it. I can already feel a structure forming itself.

I mean, let us just say that you want to use your tumblr in such a way that everyone who looks at your account can scan it for hashtags you have provided for the posts you did and do.

So, if you want to do a currently reading or book review hashtag, why not make that available on the landing page, and each article page?

I mean it. This makes so much sense to me. SInce, after all, this is my after hours blog about what I do with codes and canvases, you see?

And honestly, it has been a decade* since I really dug into how these platforms have their own little snippets and codes, and tumblr stands, heads and shoulders, above all the others who have simply abandoned customization in the same way companies install one‑ply toilet paper, to save on money.

Now, where did I put my tumblr themeing notes again?

In my OneNote, of course, lol

*I am exaggerating, I did a website during my graphic design study, got a grade for it, too

[haggishlyhagging]

From the moment of her untimely death and the decision to publish her Memoirs the process of misrepresenting Margaret Fuller began. Whereas during her lifetime Margaret Fuller was known as both an intellectual woman and a woman of personal magnetism and charm, after her death in what appears to be a fairly consistent pattern for the construction of images of women who have been visible and who have been accorded some status, her personality, and not her intellectual accomplishment, became the focus of attention on her. But emphasising personal qualities at the expense of intellectual ones is not the only bias apparent in the representation of Margaret Fuller, or for that matter, any other woman of comparable note. A particular personal profile, which may bear little resemblance to the reality of the woman's life but which proves to be productive in patriarchal terms, frequently emerges.

In the case of Margaret Fuller, it was the Memoirs of Margaret Fuller Ossoli published in 1852 and edited by such reputable men of intellectual stature as Ralph Waldo Emerson, William Henry Channing and James Freeman Clarke, which began the printed distortion of her personality. As Urbanski says, ‘This work became the literary canon that established Margaret Fuller as an "arrogant old maid", aggressive and ugly, the archetypal feminist whose need for attention was channeled into the feminist movement. In fact’, she adds, ‘this depiction of Fuller established the feminist archetype that remains today’ (1980, p. 4).

Margaret Fuller's life has been the subject of many books and biographies, and the Memoirs, edited so soon after her death by men of distinction who knew her, has usually been accepted as an authoritative source. The emphasis and values inherent in it have been built upon, elaborated and amplified by subsequent scholars without necessarily being questioned. But the pattern which the editors set for the interpretation of Margaret Fuller was one in which her conversational ability was prominent, and one in which her writing - where included - concentrated on her literary rather than her social criticism; little attention is paid to her feminism or to Woman in the Nineteenth Century. Unfortunately, says Urbanski, the editors did not merely publish Margaret Fuller's letters and journals; they used their position as gatekeepers not just to select, but to change, her writing. They constructed an image of Fuller that does not have its origins in her work or her life. A comparison between the accounts in the Memoirs and the original documents reveals not only that much of the material was ‘destroyed and defaced’ by the editors, but that they ‘also rewrote Fuller's work, changing her writing style’ (ibid., p. 5, my emphasis).

And if this isn't enough, let it be noted that they then criticised that writing style!

-Dale Spender, Women of Ideas and What Men Have Done to Them

[mwahahahahahahaa]

My old musical theatre society at my university did a production of The Lightning Thief musical, and I went to see it last night and it was so amazing! Honestly, the performance was so good! Everyone was amazing! The choreography, the singing, the acting, all of it! Notes about how good it was:

They had Thalia during Tree on the Hill and the costume was so good for such a small part??? And the way they did it, with Thalia standing in front of Luke and Annabeth - it was amazing

Gabe was such an arsehole, I hated him

Poseidon was super super goofy and it was brilliant. He was in a hawaiian shirt and spoke in a silly way and was just. so goofy. Different to the books. Appeared in Percy's dream to give him a magic seashell and then at the end.

Poseidon and Sally interacted at the end, and despite how goofy Poseidon was, Sally was twirling her hair and flirting and clearly still attracted to him and I loved it!

The choreography was so good for the Riptide pen to sword transformation!

Obviously they had a limited budget, but they made the most of it - going for deliberate goofiness over realism. Like Chiron had a tiny horse tail attached to him and did a funny trot everywhere, that was the full costume and it was amazing because the actor pulled it off and went for it.

Similarly with the Minotaur - it was a mask that didn't even look that much like a bull, someone in shorts and a vest top with underwear over the top of the shorts to look silly. He stopped to pull poses in front of the audience as he came in, flexing muscles and grunting, it was silly but worked so well!

Sometimes you just have to embrace lack of budget tbh and be creative, and Curtain Call (the society) did that amazingly

During the campfire song, it had actions during the chorus with the 'Oh things couldn't be worse, when your folks run the universe'. Percy didn't know the actions at first and was sort of trying to copy, and Annabeth sat with him at the back and was showing him how to do the actions as the song continued.

Percy controlling water was done by ensemble members coming in with blue fabric and running/dancing around and it was surprisingly effective tbh!

Mr D was brilliant, had an 'I love wine' t shirt on and sometimes made the campers carry him around.

Honestly you could just tell the cast was having so much fun with it, at least that's what came across, and it just added to the performance.

They had the perfect people for every role. They didn't look like the descriptions in the books (Percy had blonde hair, for example), I don't mean like that, but in terms of performance, energy and characterisation, they were all amazing.

Clarisse, for example - great costume, fierce performance, powerful and threatening during 'Put you in your place'.

Annabeth too, the actor perfectly performed the tough, smart kid who wants to be important. My Grand Plan was fantastic!

Luke was great too, really emphasised how important he was to the camp and the morale of the campers with leader the campfire song and just little encouraging moments the whole way through - until at the end when Percy comes back and looks to him for reassurance and gets ignored.

The Oracle was done well as a chorus, with three people singing the main oracle lines and being echoed/joined by others. The three main ones had umbrellas decorated with paper to give a 'mummy' feel to it

Aunty Em's statue emporium - M was very good, and ensemble members were statues, wearing fabric wrapped in a style meant to resemble I suppose a toga or chiton, frozen in different poses with expressions of shock and terror. M was threatening in a perfect way, it was brilliant

They did the snakes as ensemble members with green sleeves on arms, and it was a really good effect actually.

Again, they made light of their lack of budget - as Medusa died, someone pushed a polysterene head with green strips of paper stuck to the head as hair onto the stage.

The costumes in the brief Lotus hotel bit were really good

Same for in the Underworld, in Chiron's song - the costumes were so good, it was really funny and really entertaining

Hades was so different to what I expected - in the books, Hades is quite a serious character, but in this Hades was quite comedic, and it worked better than I would have expected. As someone so used to the books (I must have read the series over about twenty times as a teen), it surprised me but the person playing Hades was really good, and came across as very manipulative with the 'Oh sure, you can leave with your mother - if you give me that' angle.

There was so much laughter from the audience throughout at every joke, it was such a good atmosphere

Chiron was brilliant - the little trot he did everywhere was fantastic and hilarious

Good kid was so emotional and powerful, you really felt for Percy. The singing was so powerful

Chiron's delivery of 'the prophecy suggests....but that's impossible, bye percy' or whatever, was so funny. So serious and then the quick 'but that's impossible so'

I doubt I've listed most of the great things about this show but like. It was so good. And an amateur production but so worth the money and so well performed.

Anyway it has revitalised my Percy Jackson obsession and I have just started re reading the books whilst listening to the soundtrack on repeat so :D

[saintsenara]

☯️ 🕯️ for the writer asks!

thank you for the ask, anon!

🕯️ was there a fic that was really hard on you to write, or took you to a place you didn't think it would take you?

i was expecting when writing everlasting ink that it would make me think differently about harry and ginny - i wrote it because i was growing increasingly irritated by a tendency in some of the fandom spaces i inhabit to act like writing things outside of your usual preferences is particularly difficult, when my personal opinion is that this is something all of us should actively do, since it helps to make our characters more well-rounded if we have to examine the aspects of them which fans of other ships/eras/genres etc. tend to emphasise - but i wasn’t expecting it to make me think so much about molly weasley.

i’ve always backed molly - and, in particular, i’ll die on the hill that she’s in the right in the argument with sirius in order of the phoenix - but i didn’t really stop to think until i wrote everlasting ink about how lonely she must be, and how her loneliness is directly connected to how she’s set up within the narrative of the harry potter series as a pretty ideal mother. the impact of grief on that loneliness must be astonishing, but - as @whinlatter notes - virtually nobody in the fandom cares about molly’s grief. there is such a tendency to have her get back to hustling and bustling after the war - and, in particular, a tendency for her relationship with harry to be taken as subsuming her horror at the loss of fred. having thought about this for everlasting ink, molly’s post-war life certainly now looks very different in my mind, and i am ready to fight her haters.

☯️ how do you think engaging with each other through tumblr, twitter, comments, kudos, creates healthy fandom experiences? how do you deal with that if you're not a social person/experience social anxiety?

i am a very social person, so i can’t speak to the latter part of the question, but i think that a reciprocity in fandom is important because it’s the best example to all of us that this is a hobby. i’ve said a lot elsewhere that i think one of the most crucial things we can all do is have a little bit of perspective about the fact that this is something we do for fun - if you’re regularly in tears over comments, or if meeting your upload schedule is making you ill, or if you’re writing the stories you think you should write rather than the ones you want to, that’s not good.

the act of screaming with other people about fictional characters should be enjoyable - that’s what fandom spaces like tumblr and discord provide, and that’s what writing and publishing fics enables. we should all work hard to keep that lightness-of-touch to our fandom life - which, crucially, doesn’t mean that we have to only engage with ‘light’ topics or discussions, it just means that we have to recognise that this is a leisure activity rather than something life-or-death.

how? be nice to the people whose work you comment on. be nice to the people who comment on your work (the vast majority of ‘mean’ comments are just things which are poorly-phrased, and if you give commenters the benefit of the doubt you will often find that you can end up having a productive discussion). block and move on when someone is genuinely out of line - arguing will solve nothing. kill the cop in your head and don’t police people’s work - just don’t engage if you don’t like it. step outside of your comfort zone whenever you feel you can. don’t obsess over your stats. get a grip on yourself if you feel yourself becoming convinced you’re some sort of celebrity just because people read your harry potter fan-fiction. have a sense of humour. log off when you need to. and write exactly what you want because you want to, critics be damned!