#ha i can actually use this because it applies to both

[notaplaceofhonour]

I would both question the idea that the BITE model is the best model (not saying it can never be helpful, but there are noticeable problems with it*) and encourage everyone to take the work & opinions of its creator (Steven Hassan) and what he considers a cult with a heavy, heavy grain of salt.

This is a guy who quite literally claimed the reason trans people believe that J.K. Rowling (and by extension her “Gender Critical”/TERF arguments) is transphobic is because they’ve been indoctrinated into a “psy op mind control” cult by the Christian far right so gender-affirming care could be used as a form of anti-gay conversion therapy (aka the Trans Cult Conspiracy Theory).

And I don’t think this is just a case of someone having a bad opinion on one issue and a good opinion on another. It’s the direct results of flaws in the way he thinks/speaks about cults, which are baked into the BITE model. It’s exactly the versatility of the BITE model, listed above as one of its assets, that is actually the problem with it. Its reliance on subjective value judgements makes it easy to apply broadly, yes, that just leaves it extremely prone to just reinforcing confirmation bias rather than actually narrowing anything down & properly diagnosing anything. it makes it way too easy to apply way too broadly.

Hassan easily uses the BITE model to cast the fight for trans health care as a cult, criticism of JK Rowling’s transphobia as a cult, and even criticism of him and his opinions as the nefarious machinations of that same “cult”. And yet, I can easily look at that—the trans cult conspiracy theory, the way he employs rhetoric about “cancel culture” to silence dissent, the casting of his critics as the monolithic brainwashed masses in an “us vs them” narrative where he’s just prometheus trying to bring fire down to us—and I can easily use his own BITE model (as well as the fact that he was self-reportedly in a leadership role within the moonie cult, with a history of employing these tactics on followers) to make similar claims about him. But I think the truth is more complicated than that; I don’t sincerely think he’s literally brainwashing anyone into a culty group, just illustrating how subjective & loaded his model is.

This is not just me saying this. While his work is popular, it is not without controversy within academia. Fellow sociologists have argued that his work may be part of a moral panic about cults. Personal friends have suggested he tends to see cults everywhere due to his experience with the moonies (essentially, “when you only have a hammer, everything starts to look like a nail”).

And, on a personal note, as a fellow cult survivor myself, a member of multiple groups frequently targeted by conspiracy theories that use the same rhetoric he does (including the exact conspiracy theory he quite literally promotes himself), and just someone with a general interest in/familiarity with conspiracist & popsci kooks & grifters, the lengths that Steve Hassan has gone to brand himself as not just a cult expert, but THE cult expert (even making his social media handle literally just “cultexpert”) and the amount that he uses heavily loaded, clichéd, & hyperbolic rhetoric such as “mind control psy ops” about anything from Trump to gender-affirming care just smacks of “everything is MK Ultra” & raises so so many red flags

it just seems like the cult focused version of the narcissistic/empath pop-psychobabble that’s been going around for so long

America has a weird relationship with cults where they’re terrified of small cults (or organizations they think are cults) but completely normalized massive cults that hurt many more people (eg: LDS Church, Jehovah’s Witnesses, the Amish, Scientology, most Megachurches)

[grimaldiapologist]

Hi, my freeranged and appropriately enriched audience. I need to talk about something real big bad and I think I've already ended all of my friendships for this reason, so I'm doing it here instead.

This scene? After Colosseum?

There's so many things going on in this scene, and for the love of everything that is holy, in order to talk about any of it, I've clipped Macrinus out of the picture because he doesn't exist.

I'll start with the fact that, while these two are described as somewhat pathologically paranoid, this is the first day we see them living through that gives them significant reason to be worried. Most days, they seem to coast by being both terminally naïve and endlessly isolationist in terms of their company, focusing solely on each other and themselves, particularly their hedonistic pursuits, while assuming that everybody they surround themselves with loves them, for whatever reason. Everything is going great for them as far as they're perceiving it. They don't know the audiences are not cheering for them - they take every cheer as if it was aimed at them. Presenting Acacius at the Colosseum for the first day of the games? They receive no applause beyond what the audience is already dishing out upon their introductions. But producing Marcus Acacius has the audience heated, and these two somehow think that's for them. They're idiots. Morons. They're so stuck in their own delusions of grandeur that yes, while they do recognise they're in Rome and Roman emperors have a terrible tendency to catch a blade, they don't seem to be actually living that reality at all.

What we know from the script is, however, that they have never truly known stability or safety: his whole life, Geta has been shielding Caracalla from their father's explosive anger. Caracalla, presumably, has witnessed this if nothing else, though I'm curious about that golden tooth within this context. I'm sure he's caught some inbetween there, too, because Geta can only afford so much shield from a grown man. And they've never had any protection from any of that. Nobody would stand up to an emperor to protect a prince; they were his rightful property. He could do with his boys whatever he pleased, and Geta's sole duty has been, it seems, not to survive, but ensure that his brother does. His pain has never mattered. His rights, needs, wants, wishes have never mattered. Caracalla's have.

I'm sure they used to be at each other's throats like the wolf pups that they are when they were younger. But what you can see with them in their early adulthood is that this is something that does not apply anymore. They'll hurt anybody else, particularly anyone they perceive as hostile to them, and most often it's done just for fun and pleasure. This makes Caracalla's fetish for watching violence particularly interesting - what with the complex relationship kinks and fetishes can often have with prior trauma, feelings of powerlessness, and attempts to regain control - but that's for a wholly different meta there. What I'm getting at is that it's always others they inflict cruelty upon, and enjoy, but never each other; there is an absolute dynamic between them, it's them against the world, them for one another. Geta's first duty is to protect Caracalla, and Caracalla trusts him implicitly. At least before this scene.

While script!Geta has less patience for his brother than Quinn's Geta does, there is never any doubt there who and what his priority is. Caracalla comes first to him. So, it's safe to say that with Dondus screaming, when he flings his water in Caracalla's face, it's never with the intent of hitting him. I have sensory issues and I'll be the first to admit I've thrown things when my processing threshold is violently crossed and it's something you just don't second-guess, like someone hitting your knee joint with a hammer. But regardless of intent, the consequences are so very interesting. And I'm sure Caracalla, even, knows that this wasn't intentional. Dear gods though, look at his reaction.

This is the face of someone telling you you have crossed a line that cannot be uncrossed.

And, for the sake of my sanity, I need to make sure everybody understands that Caracalla's way to emphasise just how much things have broken here is to say absolutely nothing, leave the room, and go cry under a table. Terrifying. But I digress; what is terrifying is Geta, after this has happened.

This is the face of a man who has crossed a boundary of his own, and it has quite little to do with the previous. Yes, Caracalla is angry at him, and there will be consequences in some form. Again, for now, the consequences are that he's chosen to become inconsolable and hide under furniture, likely much as he did when their father had his rages. But Geta, for the first time in his life, broke out of his role of a protector, and the one to be beaten.

He's realised that Caracalla is not untouchable. And for ages, he doesn't move, because his whole world has shaken here; and what he does then to justify his actions is blame his brother for them. Caracalla did absolutely nothing to earn what he did to him, but it's now his fault, for being so unstable. A liability. How could Caracalla make him do this to him, truly.

This evening, Geta's been brought face to face with his reality: he is not loved. He is not untouchable. While he can mandate the word of gods, he is not, himself, regarded as a god. Not like he deserves. Not like he should be. He's suffered so much - but he is a great man, and he knows this. He's not stupid, and he's a conqueror, albeit from his comfortable seat at home. But he deserves better.

And what, pray, is standing in the way? What is holding him back? His brother is. Caracalla, who is always embarrassing him. Who is his first and last responsibility each day and each night, who needs him to watch his every move, to keep him safe not only from the world but from himself and his own instability, his insanity, his unpredictable actions. Without Caracalla, Geta could be focusing on being an emperor. He could be achieving so much more than he is, if he wasn't his brother's constant, eternal keeper, his babysitter, his court jester. And he deserves more, doesn't he? He deserves to be remembered.

So, let Macrinus (who doesn't exist as you can see from the screenshots) handle Caracalla this time. Geta has an empire to think of.

And this, this is what interests me about this scene more than anything. For Caracalla's part, things seem at a glance much more benign, though no less broken: the one thing he took as certain as air has fallen apart - that his brother would always stand for him first, and would never lay a finger on him to hurt him. His brother, who bled for him, protected him from their father, and has ever since looked after him, elevated him to the highest status, aside from some... minor symptoms of hubris, of course. But while all of this hurts him, deeply, fundamentally, it isn't enough to make him immediately see Geta as his enemy.

And I can't stop asking - should he? Should he now regard Geta as his enemy? His whole world is collapsing. It's from this very moment onwards (yes, this one, specifically) that he begins to show symptoms of acute psychosis: delusions, paranoia, severe lapses in reality, memory, and continuity. He doesn't look like he sleeps either, but of course, other factors come into play with that part. (And gods know I don't blame him for that.)

Geta was his foundation, his bedrock. They were in this together, whatever happened. Yes, they bicker, but they've always known how that goes: Geta's patience is endless with Caracalla, and Caracalla's thirst for violence is not turned towards him, even at its worst. Geta has no issues turning his back to Caracalla in the state that he is while the man is wielding a sword and doing god knows what with it in the background. Not for one second does Geta flinch when coming between Caracalla, his sword, and a man he's already condemned to die, because Caracalla would never harm him, either.

But after this? After the first blow, however small? What then?

I'm just asking questions here. This could lead onto the next subject - the way Caracalla's whole demeanor changes when he inflicts the first wound on his brother and finds that he bleeds just the same - but I'm keeping that to me for now.

[alexanderwales]

I've been trying to get a good overview of communist art, and it's difficult, partly because of the language barrier, but also partly because I think what I want isn't the art itself, it's a comparison of how the landscape of art-making shifts.

Movie-making, in particular, is a massive undertaking that requires a fair amount of time and money if you want to do it right. You need someone to write it, someone to direct it, someone to act in it, a cinematographer, some lighting, sound and music ... under a communist model, none of this would actually change. You would still need to acquire the personnel and make sure they were housed and fed. You would still need sets to be built and artists to devote their time and energy.

So one of the common criticisms of capitalism is that it produces Bad Art, that everyone is just trying to make a buck and they don't care about the product unless it finds consumers who will pay out cash. Everything is geared for the lowest common denominator. This gets worse as you involve more and more capital.

But I've always wondered: is this not also true under communism?

I don't mean in practice, that question is simple, all you have to do is read up on the film production processes from a number of different communist and formerly communist countries, whose source materials are often not accessible in English, mired in propaganda and disputes, and cover many decades. Easy peasy. I did what I think is a surface skim, but the common threads were that film studios were state-owned, scripts were approved by party officials, there were regular reviews during production, and a final review before release. You usually have to promote socialist values, or at least not criticize the current regime, and you have reviews for "ideological content". In spite of all this, some good movies got made, some bad movies got made, and some movies were banned for lack of ideological conformity or "frivolity". There are different eras to filmmaking in every country, times when the industry was thriving and times that it crashed to the ground in spectacular fashion as the government involved itself. A lot depended on who was in power and what the then-current ideology was. I think it's tempting to say that the widely agreed upon "great films" got made in spite of having ideological overview, but it's hard for me to evaluate that claim, and if someone said "the great American films were made in spite of capitalism" I think that also would be a difficult claim to evaluate, even though I've actually seen a pretty substantial amount of the canon and speak the language most often used in analysis of production processes.

No, what I mean is that in theory there's someone that has to be running the numbers. The film studio is state-run, sure, everyone is in state housing or whatever, they're getting food somehow ... but someone, somewhere, is authorizing all this. You don't make a film without a plan, so those plans have to be submitted to someone, or a committee, and that committee has to decide which films will get made and which will remain a dream. And if they're doing that, then they're either trying to make the film that they think benefits the country the most, or they're applying their own taste and judgment, but probably both.

And if you're under some kind of model where no one runs the numbers, where film-making is entirely volunteer work, then you still have problems, because you need this large volunteer organization, and you need to bring them in on your vision, and if they can just walk away, you need to maintain that energy and vision through the whole process.

I guess what I'm saying is that yes, capitalism presents problems when it comes to this specific artform, but I feel like as soon as you're out from under the yoke of the dollar, you're immediately under some other yoke. And I do wish that when people saw a bad film and said "the problem is capitalism" they would take a moment to consider that maybe there is always necessarily going to be oversight and compromise, just because of the nature of the enterprise.

This does not apply nearly so much to other forms of art, like those that can be done by a single person sitting in a room all alone.

[rauchendesgnu]

Since I keep seeing people and fic mentioning Silco's lack of depth perception, I'm gonna spend a minute on writing this. Obviously, there are many, many different ways blind and visually impaired people experience the world, and my view (haha) is just one of them. However, I do think my disability comes close, at least in part, to what Silco likely experiences, which is why I decided to write this thing.

How does lack of depth perception work? The magic happens in the brain. It gets two images, one from each eye, and the brain makes them into one (simplified, I'm not a doctor). Lack of depth perception happens either if one image goes missing, e.g. because of blindness, or if the brain doesn't do the thing right.

People can adapt to it. I've been born with my disability, so it's all I've known, but people who experience trauma that leads to the lack of vision on one eye will still be able to adapt. This means that as long as the things we'd like to grab are on the stronger side of our vision, we will not have any issue in actually grabbing it. I'm not going to miss the glass and spill water everywhere because I live with my vision every day, and since neither I nor the glass are moving, I know roughly where it is and I can pick it up without issue. The problem is when things are either in the area of my weaker eye, or if they start moving.

Movement. This is where it gets tricky. It makes things like dodging, moving out of the way, jumping over obstacles, catching and throwing things, climbing, and almost all kinds of sports incredibly hard, especially if you play/train together with able-bodied people. It's easier when the movement is slow. I would probably be able to catch a ball if it was thrown at me slowly in a nice, high parabola. Anything with speed, such as all ball sports I know, is nigh impossible.

The weaker eye. Again, I'm not a doctor, so the way I define terms will not line up with what an oculist might call it, but my main visual input comes from one eye. That's what I use to navigate my life. The other eye is all periphery vision for me. The vision is very weak and the overlapping part (the part of the input of both eyes that overlap (think venn diagram)) of my weak eye mixes with that of my strong eye, but they don't quite align, plus I assume my brain works on eliminating as much the signals my weaker eye sends so as to not impair my vision even more, that if I close said weak eye, it feels like I'm losing periphery vision, not half my vision. Sometimes, I catch myself closing my weaker eye to concentrate better. This happens when the weaker eye's image interferes too much with my stronger eye. In addition, if you have a lazy eye, it's likely that its image moves around a bit (at least it does for me), while the stronger eye is steady, which adds to more confusion.

How do we apply all of this to Silco? I am going to assume that Silco's vision is somewhat similar to mine, based on the fact that his left eye follows the movements of his right eye, so he has some control over the muscles that move the left eye and a direction of where it needs to go, so it's unlikely that he doesn't have any vision at all in that eye. A) His eye is likely very dry and needs to be moisturised a lot. B) It seems like what is causing his impairment is the damage brought by the toxins. For his vision, we can assume this means that it eats away at e.g. his lens, which would mean that his vision on the left eye is blurry and the eye itself is highly sensitive to light to the point where the outside light of cloudy days can be painful. At the same time, we see that his pupil doesn't dilate, so the iris isn't working properly, which means that in case of head trauma, internal bleeding can't be checked. There could be more damage that affects his vision, but since I have no experience with other impairments, I won't include them here to avoid spreading misinformation. (If anyone has similar visual impairments or disabilities, feel free to add to the list.) C) He probably lacks depth perception. This will play out the way I have illustrated above. D) It will be easier to startle Silco when not announcing the approach from his left due to the weak vision of his eye. E) In addition to the pain from having toxins in his eye, he's likely to get headaches and eye strain.

I think that's all for now. I might add to this if I come across something else, but for now that's what my tired brain can come up with. I think what's most important to me personally is that we are more capable and independent than many people think (which is pretty universal to all people with disabilities), and also that we don't walk around as if the world was made out of egg shells. We're perfectly fine doing most domestic tasks. Some of us need a different system for it than able-bodied people, but that doesn't make us less capable.

[sirhamburrger]

INTRODUCING... X=GEN!

basket case (h. chigiri x f!reader) || divider by @roseraris

note: this introduction is made from rin itoshi’s pov.

about x-gen:

✩ julian loki manages the official band account, since he’s been an independent musician for a while already. tabito karasu helps out with publicity because julian doesn’t trust anyone else to do the job. ✩ the reason they don’t have a professional, non-member manager is because they’re such a big group. with seven people, ego decided they should be forced to try their hand at managing their own professional affairs.

about the members:

✩ leader of x-gen julian loki is a popular independent pop artist in the local scene. he used to make music in his own apartment in paris, and the blue lock talent project has given him access to better quality sound production and band members whose talents he can utilise. truly a win-win situation! (he is x-gen's tired dad) ✩ rin itoshi is one of the most talented vocalists in the project. during the second selection, he ranked in first place on metrics such as ‘audience satisfaction’ and ‘star power’; however, he’s working on being a better team player. ✩ ryusei shidou ranked just after rin in the second selection. he’s unpredictable but also versatile, his background of theatre training coming in handy when it comes to pushing the boundaries of modern pop and rock. ✩ charles chevalier is another young up-and-coming star in the local pop music scene. he’s only seventeen, but already very talented as a guitarist. for now he learns diligently from julian, hoping to get solos in x-gen’s future shows. ✩ zantetsu tsurugi’s technical skills as a bassist are absolutely off the charts. any vision x-gen has for a song, he brings it to life. he’s serious about music, but just a little bit air-headed at times. ✩ just like zantetsu, tabito karasu is one of the most technically proficient trainees of blue lock. people decscribe his playing style as ‘flying through the beats’, doing things with the drums they never thought possible. ✩ and last but not least, aoshi tokimitsu is a timid classically-trained pianist who's looking to apply his skills in the modern music scene! being the most well-versed in music theory in the group, he helps everyone out in the crucial stage of songwriting.

about their music:

✩ their sound is an experimental mixture of pop and rock. with inspirations being mother mother, coldplay and manshine's namesake, måneskin. their setlist reflects their range and talents perfectly (or so they thought until ego decided otherwise :((((( ) ✩ the band was named for their aim of revolutionising pop rock, and bringing artists from different genres together to create the next generation of modern artists. and sure enough, they're versatile enough to complement the strengths of both their lead singers. ✩ (they are referred to as x-gen, stylised X=GEN)

songs i think sound like them:

✩ supermassive black hole (muse) ✩ honey (are you coming?) (måneskin) ✩ zitti e buoni (måneskin) ✩ arms tonite (mother mother) ✩ sparks (coldplay)

bonus! introducing... sae itoshi!

✩ a former young theatre star, sae itoshi has since abandoned the stage for a dramatic shift to the hollywood big screen. he recently starred in a critically-acclaimed movie, to which he owes his rise to fame. ✩ the brothers itoshi have a rocky relationship. between busy schedules and sae needing to leave japan to further his career, they haven't sat down for a meal together since rin was fifteen. ✩ fun fact: as a child, he worked alongside ryusei shidou on many productions!

a/n: can you tell i'm such a big fan of mother mother and måneskin. i comb through my actual playlists for these intros and... yeah. i think i like x-gen more than manshine now... i'm not sorry at all

taglist: @narcjsistx, @nyxlai, @n0ah-hal00, @kawoala, @chuuyalvover, @ih8geography, @lorisheaven (open, comment on any post in this series to be added, preferably here at the series masterlist)

bllk masterlist || general masterlist

© sirhamburrger 2024

[the-fabled-void]

Shoutout to Echo by Gumi, and what it has done for the Undertale fandom

[nonuggetshere]

I need to draw something with PK and Hornet there's not enough of these two together in my art

[laugtherhyena]

Playing Bomb rush cyberfunk has been a crazy experience so far because i feel like I've been enjoying the game just as much as I'm not doing so

[vampire-core]

[id: the first image is a reply by @.demilypyro that reads: That doesnt sound very cis

the second image is a reply by @.homosexualmorelikehomiesexual that reads: respectfully adding to this in agreement with op: i think its true that no, it DOESNT sound very cis, but thats bc according to the very same gender system that sucks so much, anyone who disagrees or complains about it is Other, and i think thats......part of the exact problem op is talking abt..? so yeh idk. speaking as a trans person myself- op youre valid youre right and you should say it i support you go cis boy go

#this is what i call cis+ #youre cis but youve seen the void. the truth. and then you pulled back and went Ok Got It. Keeping My Gender Though #which i think is just as respectable. like amen #consciously opting into your assigned gender when you know you don’t actually have to..... #thats cis plus. cis prime. cis upgraded. you feel? /end]

I’m a cis man sure but i also wanna opt out of the gender binary. None of that shit is my fault or my responsibility and i don’t want any part of it

[thymewayster]

Really good Twitter thread originally about Elon Musk and Twitter, but also applies to Netflix and a lot of other corporations.

Full thread. Text transcription under cut.

John Bull @garius

One of the things I occasionally get paid to do by companies/execs is to tell them why everything seemed to SUDDENLY go wrong, and subs/readers dropped like a stone. So, with everything going on at Twitter rn, time for a thread about the Trust Thermocline /1

So: what's a thermocline?

Well large bodies of water are made of layers of differing temperatures. Like a layer cake. The top bit is where all the the waves happen and has a gradually decreasing temperature. Then SUDDENLY there's a point where it gets super-cold.

That suddenly is important. There's reasons for it (Science!) but it's just a good metaphor. Indeed you may also be interested in the "Thermocline of Truth" which a project management term for how things on a RAG board all suddenly go from amber to red.

But I digress. The Trust Thermocline is something that, over (many) years of digital, I have seen both digital and regular content publishers hit time and time again. Despite warnings (at least when I've worked there). And it has a similar effect. You have lots of users then suddenly... nope. And this does effect print publications as much as trendy digital media companies. They'll be flying along making loads of money, with lots of users/readers, rolling out new products that get bought. Or events. Or Sub-brands.

And then SUDDENLY those people just abandon them. Often it's not even to "new" competitor products, but stuff they thought were already not a threat. Nor is there lots of obvious dissatisfaction reported from sales and marketing (other than general grumbling). Nor is it a general drift away, it's just a sudden big slide. So why does this happen? As I explain to these people and places, it's because they breached the Trust Thermocline.

I ask them if they'd been increasing prices. Changed service offerings. Modified the product.

The answer is normally: "yes, but not much. And everyone still paid" Then I ask if they did that the year before. Did they increase prices last year? Change the offering? Modify the product?

Again: "yes, but not much."

The answer is normally: "yes, but not much. And everyone still paid." "And the year before?"

"Yes but not much. And everyone still paid."

Well, you get the idea. And here is where the Trust Thermocline kicks in. Because too many people see service use as always following an arc. They think that as long as usage is ticking up, they can do what they like to cost and product.

And (critically) that they can just react when the curve flattens But with a lot of CONTENT products (inc social media) that's not actually how it works. Because it doesn't account for sunk-cost lock-in.

Users and readers will stick to what they know, and use, well beyond the point where they START to lose trust in it. And you won't see that. But they'll only MOVE when they hit the Trust Thermocline. The point where their lack of trust in the product to meet their needs, and the emotional investment they'd made in it, have finally been outweighed by the physical and emotional effort required to abandon it. At this point, I normally get asked something like:

"So if we undo the last few changes and drop the price, we get them back?"

And then I have to break the news that nope: that's not how it works.

Because you're past the Thermocline now. You can't make them trust you again.

[fuckyeahgoodomens]

Terry Pratchett about fantasy ❤

Terry Pratchett interview in The Onion, 1995 (x)

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy?

Terry: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question.

O: It’s a rather ghettoized genre.

Terry: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre.

O: It’s certainly regarded as less than serious fiction.

Terry: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus.

Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy.

Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

(Pauses) That was a bloody good answer, though I say it myself.

[autolenaphilia]

I don’t care about accusations of ”pedophilia.” I will not give a fuck, I won't investigate your claims, I will just ignore it.

For one thing the accusation of pedophilia is often entirely meaningless. This is because pedophile/pedo etc are words that carry the taint of child rape, of calling up the disgust such an act naturally produces, but are accusations that don’t require such an act or a victim of it. If you call someone a “child rapist” that has weight, but you also have to back it up with a victim this person supposedly raped for the accusation to actually be meaningful. But words like “pedophile” carries no such demands, it literally just means “someone who has an attraction to children.” It doesn’t require an actual victim. It’s an accusation about how someone feels in their head and can thus be liberally applied. Someone criticizes your asinine submarine idea to rescue some children in a cave? Call them a pedo. And even words that once had a more specific meaning, such as “grooming” can be stretched beyond all meaning to mean whatever it wants to. Someone talked to under-18 people about sex and gender in a way you don’t want to? Call them a groomer.

In a culture of pedohysteria, pedojacketing is easy. And it’s especially easy to weaponize it against queer people, the idea that queerness spreads through queers recruiting children by molesting them is one of the oldest queerphobic narrativeness out there. I’m using “queer” here because this is a narrative used both against gay and trans people. But in the present transphobic/transmisogynistic backlash it’s most often used against trans people, especially transfems, as transmasc people are more often infantilized.

But on a more deeper level “pedophilia” is the wrong framing of the real problem of child sex abuse. It’s literally a medical term, a diagnosis. It makes child sex abuse a problem of some sick individuals with a diseased attraction.

This is of course a bad and antifeminist understanding of what rape and sexual violence is. It’s an inevitable and natural expression of power. The widespread rape of women is caused by the patriarchy, of men having power over women. And the misogynist oppression of women with sexual violence naturally extends to young girls. But all children are disempowered in our society. Adults have power over them in the patriarchal family, in the capitalist school system and other institutions of our society. Sexual violence against children flows from the power adults institutionally and systemically have over them. The vast majority of sexual violence towards children comes from the family and schools, not the “stranger danger” of creepy weirdoes hiding in bushes.

This is the reality that the framing of sexual violence as the result of sick individuals with a diseased attraction obscures. And it inevitably calls for a reactionary carceral and psychiatric response, justifying the police, prisons and psychiatric institutions. That’s why “what will we then do with the pedophiles?” is such a popular clichéd response to prison and police abolitionism. This very framing of the problem calls for a carceral response. If the problem of child sex abuse is sick individuals instead of the system, if we constantly root out and punish individuals we will eventually solve the problem.

In reality carceral responses actually make the problem of sexual violence much worse. The police, prisons and involuntary psychiatric hospitals are violent expressions of power and thus create the conditions for rape.

Pedohysteria is constantly used to justify the expansion of state power. Here in European Union we have had a legislative push to ban end-to-end encryption and make all online communication accessible to law enforcement, total online surveillance. And the reasoning is because otherwise pedophiles can use e2e communication to secretly send child porn to each other without the police being able to do anything, which is of course true, that does and will happen, but doesn’t justify killing all online privacy. This “chat control” act is literally called “regulation to prevent and combat child sexual abuse.”

The pedohysteria also justifies vigilantism, which tumblr callout culture is part of and is also a deeply reactionary and even fascist phenomenon. Vigilantism rests on the idea that what the police do is right, but they are not doing it well enough, because they are too reigned in by liberal ideas such as laws and regulations and the courts. So random people should take on the role of police to punish “criminals”, like pedophiles. And this goes through tumblr callout culture. A subtext running through pedojacketing callouts of transfems is the idea that transmisogyny does not exist and does not lead to transfems being disproportionately punished, but instead transfems are using their minority status to get away with sex crimes.

This standard conservative rhetoric about how liberals often literally let minorities get away with murder justifies their reactionary vigilantism. Of course in reality, transfems are far less likely to commit sexual abuse of children than other groups of people, because we are systematically excluded from the very institutions where such abuse happens, such as parenthood/the family or schools, because of the transmisogynist stereotype that we are all perverted child rapists. And the callouts of transfems as sex predators are in themselves abusive and protect actual abusers, just like how police and prisons are.

So no, I will continue to not give a fuck if you call someone a pedophile.

[fucktoyfelix]

Choking Safety

I've been seeing some kind of scare-mongering type posts going around about choking during sex, so I wanted to address how to approach choking in a safe way. Choking is not a 0 risk activity, but it is also not so dangerous that you will just randomly die either. Anyone who does martial arts will confirm that thousands of teenagers are being successfully trained to choke each other safely (for self defense) every day! There's no reason you can't learn to do it too.

First you should be familiar with some basic anatomy of the neck and throat:

The carotid veins on both sides of the neck and the trachea/windpipe in the center are the most important things to be aware of. If you want to enjoy the psychological element of having someone's hands around your neck with relatively little risk, you can do "choking" play that avoids putting any pressure on those arteries or the trachea. As with all choking play, safety is highest when both parties are fully sober. I'm not actually sure if there are people out there who are into having the windpipe or trachea blocked. This tends to hurt like fuck and cause an autonomic choking response. You'll know if you went too far center because generally the bottom will be like "WTH". I don't know if there is a way to do this play safely or not as I don't have experience with it. It probably carries some risk of the trachea collapsing which would be a hospital trip for sure. Most choking play is done with the intention of cutting off the blood supply to the brain by applying pressure to both the left and right carotid arteries. This type of choking is not really "breath play" because of the way it works (though many people refer to it that way.) This creates a pleasant light headed feeling, but is also where the higher risk comes in. It often doesn't take long for a person to lose consciousness once these arteries are blocked, often less than 10 seconds. Sometimes getting completely choked out is the goal, sometimes not. Either way, the top has to pay very very careful attention to every aspect of their bottom's body language. Once you realize that a person has lost consciousness, the choking must stop immediately. Because of this: the most dangerous way to do this kind of play is alone. (hence all the auto-erotic asphyxiation deaths you hear about) It goes without saying that intoxication also dramatically increases the risks. It's not recommended to lose consciousness this way on a regular basis. It's just not good for your brain to repeatedly go through, especially in rapid succession. Generally, the more time spaced out between this type of play: the better. Though some people may have medical conditions that make the risk higher, as long as you stop choking when you reach the desired headspace, this play is approachable. Anyone who's REALLY into the idea but feels unsure or scared, I highly recommend taking a few martial arts classes. MMA guys do this to each other all the time! For sports! The key is just stopping at the right time. There are two main ways to go about blocking the carotid arteries. The main one used in martial arts and self defense is the rear naked choke.

This type of choke is incredible effective at choking someone out quickly and easily. The forearm and the bicep are squeezing each artery until the desired effect is achieved. The risk here is how quickly it works in combination with not being able to have a visual on your bottom's facial response. When someone loses consciousness they will go limp and begin twitching somewhat. This is normal, and you should stop immediately if you notice those signs. The more common method of choking play during sex is what looks more like typical choking. Facing your partner, using both hands.

You want to find the arteries with both hands, and use the meat at the base of your thumbs to apply gradually increasing pressure upwards towards your partner's head. You can keep the thumbs tucked to avoid accidental pressure on the windpipe. (Though this is not required so long as you remember not to apply pressure to the windpipe.) This type of play has a few safety benefits. First, you can see your partner's face so it's more obvious when you can see they've hit a headspace that is desirable. Additionally, it's just a little more difficult to find the arteries and push up on them correctly. If your goal is to get a little light headed without losing consciousness, this is more easily accomplished with this type of choke. However, losing consciousness is still a risk and both partners being fully alert will ensure the lowest risk environment. I know choking play is incredibly popular, even 'vanilla' people participate in this type of play on a regular basis without really knowing the technical details. Most of them don't get seriously hurt...but knowing what you're actually doing with risky play is a base component of risk aware consensual kink. Anyway I hope people find this helpful! Happy choking!!

[she-who-fights-and-writes]

“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation. 

The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating. 

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut. 

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

[insertdisc5]

TIMELOOP GAMES REAL!??!??!!

hi i made a timeloop game called In Stars and Time and this is a whole post about other timeloop games you can also play.

some i liked. some i loved. some i didnt like. all are worth playing and like also listen the second friends and family heard i was making a timeloop game, i got bombarded with timeloop media recs. so here is a sampler in no particular order! NOTE: knowing some of those games are timeloop games is a spoiler. but. you are here. for timeloop games. so timeloop games you shall have

Outer Wilds

If you need to play one timeloop game, it's this one. Please play it blind. I swear to god you won't regret it. it's timeloops in space!!! it makes you think!!! there are so many "HOLY SHIT WAIT I GET IT NOW" moments!!! please just go play it please please please. some of the best environmental storytelling in a game. so many hints in plain sight. JUST PLAY IT

[way more timeloop games under the cut]

Oxenfree

I didn't actually like Oxenfree very much. But also it stayed in my mind for weeks after I finished playing it. that's how you know it's a good game. I really enjoyed the dialogue system in this, and how much the loop affected the characters. and it got so spooky!!!

Hikeback

i'm in the credits for this one because i was one of the inspirations heehee <3 i loved playing it… short little game about trust, self-sabotage, and never-ending cycles. highly recommend it

The Stanley Parable

Listen babes it absolutely counts. I replayed it a bunch while making ISAT, and I got immensely inspired by the dialogue, and how it catches you off guard sometimes? You get SO SO used to the narrator's "All of his coworkers were gone. What could it mean?" at the start of every game, and then for no reason instead it says "A soft wind blew outside and perhaps rain started, and if it did it stopped shortly after. Stanley hoped that he would one day see weather." like WHAT THE FUUUUCK IM GETTING CHILLS JUST THINKING ABOUT IT

12 minutes

ok i know we all made fun of this game when it came out because the story is batshit insane HOWEVER!!!!!!!! i REALLY REALLY LOVED how doing the same actions multiple times would have slightly different outcomes. If you battle someone, the first time you get knocked out in one hit and the loop restarts. the second time you try, you evade the first hit, but get knocked out. the third time, you last a little bit longer, and a little bit longer, until you can pretty much hold your own against your enemy. And it applies to so many things in this. Retrying different things to see how they would change was a delight.

this game is also so bad its almost good, and if you're interested you HAVE to play it with friends so you can yell about how bad it is together.

Zero Escape

it's just a good series ok. escape rooms, and also time loops! the 3rd game in particular goes deep into The Math of how timeloops would work, which i think is interesting. sometimes timeloop games just go "yeah you can timeloop dont worry about it" and others go "OK HERE'S THE HOW AND WHY IT WORKS" and both are interesting!

START AGAIN: a prologue

this game has almost everything i could wish for in a timeloop game. depression. lines repeating. dying brings you back. you get new levels and skills because you're aware of the loops but your party members don't. so you get overpowered next to them and they Notice. just. party members who dont know about the loops still noticing something is wrong. you are acting differently than yesterday. you look sad. you are acting weird. you know too much. how did you know where the keys were? how did you know this would happen? what's wrong? talk to us. and oh my god this game has a sequel? which will probably have Actually Everything i could wish for in a timeloop game? i can't wait. who made this? (its me i made this)

Ghost Trick

ok its not really time loops and more time travel and only for 4 minutes HOWEVER!!!! you should play it. you know you should play it because everyone says so. so go play it

Elsinore

im sure its a great game but ive never seen/read hamlet. so thats a failing on my part. because. you absolutely need to know hamlet to understand this game lol i did like the whole "make sure to find out which events are Important and which ones aren't so you can have The Perfect Loop"! very fun. or it would be. if i. knew. hamlet

The Forgotten City

a friend kept recommending it to me and i didn't like it. its good! just not for me. but if you like to think a lot you should play it. another "make sure to find out which events are Important and which ones aren't so you can have The Perfect Loop" game

Gnosia

Gonna be real. I didn't like the story very much, in part because the game lets you choose your gender but still acts like youre a straight dude. HOWEVER the gameplay was very inspiring to me. Every loop is pretty much just an among us meeting, and you have to find out who the imposters are or everyone dies and you loop again. and sometimes you ARE the imposter, so you need to make sure no one finds out. or you loop again. rules get added as time goes on too. i REALLY loved how quickly the loops stacked up. seeing "loop 100" was such a nice moment. ive been here so long! i tried to recreate that somewhat for my own game…

Loop Hero

Technically not a timeloop game, but a loop game. It still absolutely counts because it's about loops and memories, and what are loops and memories together if not a timeloop. You have your little guy going through a closed loop, battling enemies, getting cards, and making the world whole again by using those cards to make forests, towns, lakes come to life. I am famously a Story First Gameplay Second kinda player, but I did play this 45h for the gameplay alone. I learned a lot about battle balancing and randomness by playing this!

You and Me and Her: A Love Story

you know doki doki litterature club? this came before. and one might say. it's. better. in some parts (and i say that as someone who LOVED ddlc!) i won't say much except it's a dating sim but with timeloops. with a lot of what it implies. why are you dating this girl a second time? a third time? a fourth time? choose another one already! it was such a fascinating game to play, and is incredibly meta in the way it talks about dating sims and visual novels. had a lot of very impactful moments however, i played the hentai version. some of the worst, most cringy sex ive ever read and heard. however, one might say the sex is an integral part of the game and its deconstruction of hentai/dating sims…? no. just play the steam version which doesnt have the horrible sex scenes and you will have a great time i think (or play the hentai version. if you like. to watch. horrible sex scenes???)

Higurashi

knowing this is a timeloop game is a massive spoiler. however, this game is more than a decade old, so,,, honestly if you havent played higurashi what are you doing. i know i just spoiled you on it but i was also spoiled on it and i can GUARANTEE YOU that you will still have an amazing time. one more thing. you gotta play with the original sprites or you're a fake fan

I Was a Teenage Exocolonist

starts as a visual novel/management sim/dating sim kinda thing, until you realize that every replay is a new timeline. so the main character can save people, because they remembered about them dying in a previous one. i wish the timeloop would affect the game/story more (let me find a certain character quicker once ive found them in a previous playthrough!!!), but timeloop aside, it's a very fun game to play!!!

that's it! hope you will find a nice timeloop game you like

[menagerofmischief]

Nugget Update (MV1)

sumary: y/n's always giddy after getting a nugget update, sure she loves her best boy, but it also has something to do with the cat sitter sending the updates

driver!reader x cat sitter!max verstappen -> habs incoming... series masterlist

cw: not fia approved words, a bit of lance hate (I don't actually hate him), mutual pinning, the grid teasing the reader, lot of appearances from the reader's cat, kissing, kinda mean!reader (to the grid)

wc: 4.1k

a/n: this is my first time writing in 2nd person so bear with me. also, I low key hate this and it may be shit. not proof read!

“Well aren’t you a ball of sunshine?” A voice called out, disturbing the peace - or the closest thing to peace you could have near a Formula 1 track.

Your gaze snapped up, eyes narrowing as you took in the man standing on the entry of the RedBull garage. “Hello, Charles,” you replied, a teasing bite obviously heard in your voice as you crossed your arms over your chest. “I know you wanted to experience what a successful garage looks like but I thought Ferrari had a better hold on you.”

Charles laughs, his eyes crinkling as his lips stretch into a smile. Teasing Charles was always a fun time but that’s all it was, just a bit of fun. It never stretched into something meaner, just two people showing affection by teasing each other.

Charles had been your very first real friend on the grid. The first to offer his hand with a smile and genuinely mean it. The first to congratulate you on a win after getting out of the car or the first to say that the next race would be better. Really, he was your best friend, but you would never tell him that or it would go to his head.

“Funny, very funny.” He said, his accent thick. His eyes slid around the motor home until finally meeting your own. “Lot of drivers are going out for drinks, came by to invite you.”

“I don’t Charles,” you started to say, going through your mental list of excuses, searching for the best one to use to avoid this social interaction.

“Oh come on!” He whined, rolling his eyes. He gave you a look that let you know you could stop thinking about an excuse because he wasn’t going to be buying it. “We won’t stay that long and it’s night race tomorrow so you don’t need to wake up at the crack of dawn.”

You pressed your lips together, the lip gloss previously applied making them slide against each other easily. 

Charles kissed his teeth, nodding his head along. Fine, he’ll play the game. “Some of the WAG’s are coming as well.”

“Are you really trying to lure me out by promising female company?”

“Is it working?”

“Eh,” you shrugged your shoulders. “Will you pay my tab?”

Charles scoffed. “Pay your tab?” He asked, sounding as if you had asked him for his firstborn. “You’re filthy rich! You have a bigger salary than me!”

“Yeah, they do pay world champions a bit extra, comes with the title.” You replied, grinning at him, a wide teasing grin, your eyes twinkling. 

“Fine whatever, I’ll pay your tab.” He said, raising his hands in surrender. “Now go take that suit off and shower, you look disgusting.”

“You look like a trash can threw you up!”

“It threw me up because it saw you!” Charles shouted back in response, his back already turned to you as he walked away, back to the Ferrari garage. 

And that’s how you ended up in the bar, an hour later. Squished in the not too comfortable and definitely not meant to sit so many people, booth. With George’s girlfriend Carmen on your left, and Pierre’s girlfriend Kika on your right, and deep in conversation with both of them. 

You feel your phone vibrate under your hand on the table, and the screen lights up, showing off your wallpaper, a picture of your beloved cat Nugget.

You tune off from the conversation the moment the message arrives, grabbing your phone and pulling it in towards you. Your face lights up, lips stretching into a smile as your eyes focus on the sender ID. Maxie.

Or rather Max. The very cute guy who was your cat sitter whenever you were out and about in the world, chasing the racing track. 

With a quick move of your fingers, you swipe up, opening your phone and going into the message app. Fingers quickly tapping along the screen of your phone as you type out your reply.

With a smile you closed the messages app, pressing your fingers against the button on the side of your phone, watching the screen go black before setting it face down onto the table. As you looked back up, Lando’s amused yet teasing expression caught your eye.

You leaned forward against the table, pressing your hands to the wooden surface as you attempted to get a bit closer to the driver on the other side of the table. “Why are you looking at me like that?”

“Oh nothing,” he said with a laugh. “Just wondering who you’re texting, that’s all.” He intertwined his fingers, elbows pressed against the table and leaned forward as well. “You were all grumpy cat but then you get a message and suddenly you’re all smiles.”

“Grumpy cat?” You scoff, rolling your eyes at the McLaren driver. “I’m not a grumpy cat. And for the record, that was Nugget’s babysitter and he was sending me a picture of Nugget.”

Lando laughs, there’s a twinkle in his eyes that tells you he wants to say more but he holds himself back. “Can I see? I haven’t seen the orange gremlin in so long.”

“That’s very mean,” you say, opening your phone to show him the picture, that Max had sent you. “Nugget would never say that about you.”

“That’s because Nugget can’t speak.” He looks at the screen and his lips twist upward in a smirk. “Who’s Maxie?”

You breathe out through your nose, teeth digging into your bottom lip. When you speak your voice is sharp, it leaves no room for questioning things or an invite to ask more questions. “The cat sitter.”

“I’m sure that’s all he is.” Lando laughs when you show him your middle finger before settling back into your seat and returning to the previously abandoned conversation with the two WAG’s.

The race went pretty smoothly, as always. Starting from pole, keeping the lead the whole race and with a 20s gap to car in P2. Everything after that was pretty much a blur, the interviews, partying through the night with the grid and boarding the jet early in the morning.

The sun already started setting by the time you made it to Monaco. With a sigh you rummaged through your bag, blindly feeling around the stuff inside before your fingers finally wrapped around the keys.

Opening the apartment door you walked inside, gently laying down your suitcase as your eyes settled on the scene in your living room. Right there, laying on your couch, in deep sleep, and cuddling your cat is Max Verstappen. 

His hair had fallen over his eyes and the position he’s in looks rather uncomfortable, you’re sure his body will be aching when he wakes up. His chest was raising and falling with each breath he took, little sighs slipping past his lips. Nugget was cuddled up to him, curled in a ball.

You looked at him for a few moments before starting to move around as quietly as possible, not wanting to wake him up. 

Max had been cat sitting for you for a while now. Half of last season and now half of this one so almost a year. He was a sweet, kinda shy, mostly nerdy guy you ran into in a coffee shop and spilled his coffee. You offered to buy him a new one and he joined you for the coffee and you got to talking when he said he was looking for a job so you offered him to become your pet sitter.

At that point you really did need someone to look after your cat while you were gone, since you had broken up with your ex who usually took care of Nugget while you were away. And you couldn’t leave Nugget with your parents since your father was allergic to cats.

Now, your best friend who had been working in a different country had returned to Monaco and said she’d be more than happy to look after Nugget - but you wanted to keep Max around. 

Already having grown used to coming home after a race weekend to find him there, just existing in your space.

Nugget’s whiskers twitch, his eyes opening and he pulls himself away from Max, stretches out and then trots over to you, rubbing his head against your leg affectionately while purring. He let out a happy, albeit a bit too loud, meow when you picked him up and on the other side of the room Max began stirring from his sleep.

He opened his eyes, a bit confused, and rubbed his knuckles against his eyes to wake up, blinking a few times as his eyes adjusted to the light filling up the room. 

“You’re back,” he says, his voice is gentle, still sleepy and a bit quiet. His eyes meet yours and he offers you a sweet smile that has you immediately smiling back at him. “Didn’t mean to fall asleep, sorry about that.”

“Oh no, it’s no problem,” you reply, running your hand over Nugget’s fur as the cat lay happily in your arms. “You can use the guest bedroom if you’re tired, you know. The couch may be expensive but that doesn’t mean it’s comfortable for sleep.”

“I didn’t want to overstep,” Max said, pulling himself up into a sitting position. You approached the couch and sat down, the cat nestling in your lap and purring in content. Max smiled, reaching out his hand and petting Nugget.

“Nonsense Max, you’re not overstepping.” You cut him off, leaving no room for argument. You always told him to feel at ease in your apartment, that he was welcome to any food in the fridge and free to use the guest room as he pleased but even after all this time there was still a slight air of awkwardness backed up by the fear of going a bit too far.

Max’s eyes settled on you, your own focused on your cat so you didn’t notice him looking. He watched the way you cooed at Nugget, asking if he was a good boy while you were away and petting him gently, and his lips stretched into a small, careful smile.

He spoke before thinking. The words left his mouth before he even finished the thought inside of his head. “I watched the race,” he said, and your eyes instantly snapped up to meet his. He swallowed, already too deep to back down. “It - “ he licked his lips, trying to decide his next words, feeling like his tongue had tied itself up in a knot. “You were spectacular. It was lovely … simply lovely.”

You let out a breath, the corners of your mouth twisting upwards and you gave him a thankful look. Max swore he could feel his heart beating in his throat, and felt his cheeks heat up. “Thank you,” you said, your voice gentle, holding a comforting tone. “I’m glad you enjoyed it. And it’s nice - knowing you watched.”

“It is?”

You bit your lip, teeth scraping against you bottom lip as you looked at him, your brain running faster than the Sauber (like it’s hard) as you tried to come up with a response. “It’s kind of comforting,” you finally said, after what felt like a small forever.

You hummed, looking down at your nails. “I was thinking about bringing Nugget with me to the next race. It’s been a while since he was in the paddock.”

“Oh,” Max said, an edge of confusion noticeable in the tone of his voice. “Does that mean that you don’t need me coming over next week?”

“Actually, I was hoping you would come with.” You say, before you can talk yourself out of making the proposition.

Max tilts his head to the side, kind of like a confused cat and you try your best not to giggle at the mental image. “I’m not sure I’m following.”

“If you wanted to attend the Grand Prix,” you tell him, running the edge of one of your nails along your skin. “Cuz’ I’m still gonna need someone to look after Nugget, and you do that in general so this would just be an added bonus of traveling.”

Max is silent for a few moments and you think he’ll decline. You wouldn't fully blame him if he did, you know what the pressure of the paddock can be like. You’re about to open your mouth, tell him that ‘never mind, it was a stupid idea anyway’ and put him out of the trouble of finding a polite way to decline when he finally speaks. 

“I suppose, if you want me to then yeah, I’ll come along to watch Nugget.” He says, trying to ignore the nervous feeling building up in his chest when you smile at him, a wide happy smile that makes him instantly smile back.

“Great!” You said, the excitement evident in your voice. “Someone from the team will contact you in a while to arrange the tickets and leave the rest to me.” Max nods, he doesn’t trust himself to speak, not with the way his throat is closing up and it makes him feel like he can’t breathe.

“Look at you all giggly,” Charles teased, gently pushing your shoulder with his hand. He wiggled his eyebrows, a laugh slipping past his lips as you glared at him.

“Charles, why don’t you turn around and flash your pretty face to the crowd.” You said, rolling your eyes. You looked at the stadium full of people who were shouting out for their favorite drivers, waving banners and cheering happily. You smiled towards the stadium and lifted your hand up, waving your fingers to the public. “Give them a wave.”

“See, I always knew you thought I was pretty,” Charles replied, waving at the public. The two of you and the rest of the grid were in a wagon, going around the track for the drivers parade, so essentially you were stuck with him for at least five more minutes. “Now, do tell who’s got you smiling like that.”

“Is it Maxie?” Lando asked, the teasing tone evident in his voice. He pushed himself closer to you and Charles, inserting himself into the conversation. 

“Didn’t your mom teach you not to eavesdrop?” 

“No, no!” Charles said, shaking his head as he waved his hand dismissively as you, his full attention now focused on Lando. “Who’s Maxie?”

Lando smiled at him, his eyes sparkling with mischief. “The cat sitter,” he said in a sing-song kind of voice. 

“The one you brought to your garage?” The Ferrari driver asked, his attention back on you. “The pretty one.”

“Hold up!” Lando almost shouted, raising his hands. “You brought him with you to the Grand Prix?!”

“I didn’t … well I did bring him.” You said with a sigh, there was no escaping this now. “But it’s not like that. He’s here to watch Nugget.”

“And for you to watch him - because boy that is one good arm candy.”

“Charles, your homosexual is showing,” you warned.

“But you’re not denying it,” Charles noted, giving you a smirk.

You rolled your eyes at him but finally gave in. “Yes, I’m not denying it.”

You stepped back into the motor home, your eyes immediately searching for Max and finally you found him talking to your lead engineer. As you approached the two you could start to hear their conversation and quickly realized they were talking about how the car worked and what went on behind the scenes at a Grand Prix. You found it cute that Max was interested in that.

His eyes met yours and his face lit up, the corners of his mouth twisting upwards into a smile. “You’re back!” He said, “After terrorizing everyone around and getting pets, Nugget decided to settle down for a nap. He’s in your driver's room.”

Max gave you a wink after saying that and you had to hold in a giggle. You excused yourself to go to your driver’s room, with Max following behind you. The first thing you noticed when you went inside was Nugget, curled up on the massage bed and sleeping without a care.

The next thing that grabbed your attention was a dozen pastries lined up on a small table next to the couch. They were all individually wrapped in tissues.

“Max,” you said, picking up one of the pastries and unwrapping it. “I really did mean only one pastry, you know?” You bit into the chocolate filled pastry, moaning at the taste of a treat you weren’t usually allowed to have when it was race week. “My trainer will strangle me if he sees.”

“I swear, no one saw anything.” Max said, shuffling over to the couch and sitting down. “I was sneakier than Nugget when he’s stealing my food.”

“Oh, now that’s a very serious claim.” You told him with a laugh, his own laugh echoing back. You picked up one of the wrapped pastries and offered it to him. “Take one, or five. There’s no way I’m eating it all.”

He takes the pastry you’re offering him, his fingers brushing against your own as he takes it from your hand, sending sparks of electricity down your spine. After a second of hesitation you sit down next to him, the two of you eating the treats in comfortable silence.

His thigh nudges against yours and you turn to face him, finding that he’s already looking at you. He smiles and you don’t hesitate to smile back.

The practices go great, P2 in FP1, P1 in FP2 and P1 in FP3. 

The qualifying is where a slight setback shows up, with quali being ended early due to a crash and a red flag, putting you in P10 for the start of the race tomorrow.  

Once the car had rolled back into the pits you wasted no time getting out, putting the steering wheel back into place before storming into your driver’s room. 

You pulled your helmet off, fingers curling into the bottom of your balaclava as you pulled it off, throwing it next to your helmet before bringing your hands up to smooth down your hair. 

“I’m not in the fucking mood, Pepe.” You said without turning around, assuming it was your race engineer coming to talk about the outcome of qualifying. “Fucking Lance and his fucking money made seat - if that little frog screws up another quali, I’ll be the one crashing him out.”

“I’m not Pepe,” the other person in the room says and you instantly turn around, your eyes wide as they meet Max’s blue ones. “And I’m certainly glad I’m not Lance.”

You looked him up and down, eyes trailing over his figure. You took notice of Nugged, cuddled up in his arms and looked at you curiously, and reached your hand out to pet the cat, a long breath slipping past your lips. 

“Sorry,” you said with a shrug of your shoulders. “I didn’t really mean for you to hear that.”

Max barely heard what you were saying. Too distracted by the sight of you for his brain to properly register your words. Your skin was slightly glistening with sweat, an imprint from where your helmet and balaclava had dug into your skin still visible on your flushed cheeks. Your messy hair, and your chest raising and falling with each breath you took as you were still working on catching up your breath.

Max blinked, finally snapping out of his thoughts and focusing his attention back to what you were saying. “They should have let you finish the lap.” 

“I agree but sadly that’s not how it works.”

Max nodded along, not really knowing what to say to that so he switched to the next topic. “I ran into your friend. He invited you, and me, out for drinks. I think it would be nice to go, you seem like you need a drink.”

“Yeah, I definitely do.” You replied, taking Nugget from his arms and into your own, stroking down the cat’s body. “Which friend?”

“Uh,” Max started, thinking of a way to describe the guy since he couldn’t remember his name. “Wears red, pretty, sounds French.”

You laughed, smiling at him. “That’s Charles. I hope you didn’t tell him he sounds French, he gets offended by that.”

“Then it’s great I kept it to myself.”

You laughed in reply, putting Nugget down to the floor, the cat immediately moving to a cozy corner and curling up into a ball on the floor, shutting his eyes. “The hotel is right next to the track, you can take Nugget back while I shower and then we can go - if you want to.”

“Sounds like a deal,” Max replied with a smile.

You showered and put on a clean set of clothes just in time to meet Max after he finished dropping Nugget back to the hotel, leaving him with toys, food and water. The two of you made your way to the bar to join the rest of the grid for a night out. 

Some of the drivers were playing pool while their girlfriends were engrossed in a conversation so that left you and Max sitting together, sharing drinks and talking.

“I just …” you started, cracking your fingers. “I don’t know, this quali really messed up my mood and I was riding on such a high after the practices going well. It all feels shit now.”

“Maybe you just need more motivation for the race.” Max offered, drinking the rest of the liquor from his glass in one go. 

“You have something in mind, Maxie?” You asked, the nickname slipping past your lips without a thought now that you’ve had a few drinks. 

“How about a kiss if you get on the podium?” He said, his voice suggestive. Normally he never would have dared to say something like that but the alcohol courage really worked wonders. 

Your eyes widened, clearly not expecting him to be so bold or to suggest that. He took your reaction as a bad sign, immediately straightening up as a wave of dread quickly sobered him up.

“I’m sorry,” he gasped out, the expression on his face shifting into a panicked one. “That was stupid. It was thoughtless. It was -”

“A great motivation,” you cut him off, putting a finger up against his lips to silence him. “It was a great motivation.”

His cheeks burned as his eyes met yours. He looked so vulnerable, his bright eyes impossibly wide. “Yeah?”

“Yeah!”

“One more corner to go but you’re in the clear,” Pepe’s voice echoed over the radio. You blinked, your eyes focused on the track before you, the checkered flag already visible along with your team gathering in the front. “That’s P1, Y/n. Phenomenal drive today, you deserved it!”

“Thank you,” you said, your voice breathless as you moved your hands, going through the last corner and speeding towards the finish line. “Thank you, Pepe.” You repeated, swallowing your spit. “It was lovely, simply lovely.”

You put the car into P1, getting out and posing for a picture on top of your car. You could hear the shouts, the cheers, the celebration. You took off your helmet, ripping off your balaclava and putting them both into the car before turning around to face the team, eyes searching for a particular face. 

Finally, you spotted Max. Standing besides your engineer, a proud expression on his face as he looked at you with a wide smile. You didn’t hesitate, feet moving before you could think and then you were in front of him, grabbing his shirt and pulling him down, smashing your lips into his.

The kiss was desperate, both of having waited long enough for it. He wrapped his arms around you, the best he could with the fence between you, kissing you back with need. 

You finally pulled away when you felt your lungs burning from the lack of oxygen, learning your forehead against his. Nothing else mattered, not the public, not the team, not the celebration. Only him, finally yours.

“Simply lovely, right?” You asked, your voice breathless.

“Simply lovely!” Max repeated back to you, before kissing you once again. And he really did mean it - everything was simply lovely.

tag list: @formula1-motogpfan @misty-inferno @thelemonque3n @marvel-hotchner @strangemaximoff @folkloresreputation @pippyth3hippy @adharacambridge @theseerbetweenus @sebastianstansblog @tellybearryyyy @six-call @grussellsprout @oikarma @justcharlotte @annimausi

i hope i tagged everyone who said they wanted to be on the tag list. hope you enjoyed this one and keep an eye out for the poll about the next part of the series <3