#he's realistic

[oxymoronjm]

Cualquier parecido con la realidad (lol) ...omg Koo

jungkook cheating to get the highest score at the basketball game 😂😂😂

[platoapproved]

louis + cruelty

[zillychu]

what if his suit WASN'T shrink wrapped

[koobiie]

based on that one q&a... i'm a sucker for a pokemon crossover

[ilions-end]

i've noticed just how often achilles' dragging of hector's corpse is framed mostly as an act of extreme disrespect, or only some brutal show of triumph. personally i think that's underselling both achilles' intention and what the trojans must be thinking as they watch it happen.

hector's corpse is divinely protected so it can't be damaged by the greeks after death; all that effectively happens in the iliad is that his body gets dirty. but under normal circumstances (and i'm not gonna impose realism on mythology, but the iliad is famously detailed when it comes to bodily trauma), the physical reality of dragging a corpse along stony ground for miles would be severe disfigurement and dismemberment. first the skin would wear off, then soft tissues, then extremities would start to detach. i think the iliad's original audience would be aware of that as an intended outcome.

achilles (who doesn't yet know that hector's body has been granted divine stasis) doesn't just want to parade his enemy's corpse around, he wants to tear it apart ("i only wish that this fury inside my heart would drive me to carve you to pieces and eat your flesh raw..."), he wants it to not resemble a human anymore. he wants hector's blood and flesh to circle the city of troy. he wants to make it impossible for hector's family to gather the pieces of him to cremate and that way hector's spirit won't find passage into the underworld. that's what the gods are preventing from happening, they're not just keeping the corpse pretty for priam to pick up later.

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[morganbritton132]

AU where Tim, age nine, walked three miles to his neighbor’s house, held up his bleeding hand to Alfred, and asked if he could please have a bandaid. He got stitches instead, and a hug from Dick, who squeezed him tight and asked, “Can we keep him?”

And then Tim never went home again.

He learns gymnastics with Dick and reads in the library with Jason. He shows Alfred how to reset the wifi and rambles on to Bruce about his latest obsession (shipwrecks), and he never sees his parents again.

Behind the scenes, there was a kid left alone in a mansion while a whole international incident played out. It included a kidnapping, a ransom, a failed hostage negotiation, and two dead parents never coming home.

It pokes at a wound in Bruce when he is told about the Drakes and he has always been productive in tragedy. He knows how to shove the hurt away and build something strong on top of it.

The adoption was seamless. The sell of the Drake Estate was effortless. The trust for Tim. The memorial. The scholarships in Jack and Janet’s names. Bruce does it all methodical and singleminded.

And somewhere. Somehow. They forget to tell Tim.

Sometimes he misses his mom and dad. He misses his old room and being alone in a big house, but months turn to years and he likes it here. He really does. He has brothers here and Alfred, and they say they’re his family. He likes that.

They said they wanted to keep him, so they kept him. Kept him forever.

Then Damian is there.

Tim comes home and there’s a new boy, about the age he was when they got him. Tim asks in a whisper, “Did they take you too?”

[ceeejus]

break in the case

[technically-human]

It's not complicated, it's just weird

[wolfythewitch]

Unfortunately I cannot draw spiders

[lazylittledragon]

the only thing scarier than vampire lords/mind flayers/death cults is meeting the in-laws

[the-maw-consumes]

leaves

[saint-hymn]

mercy, mèrci

[jowbokitten]

Maid to skate

[gutsby]

Diehard

Pairing: dbf!Joel x Reader

Summary: Joel tries Viagra for the very first time.

Warnings: 18+. Unprotected p-in-v. Erectile dysfunction. Daddy kink. Praise kink if you squint. Overstimulation. Cumplay. She/her pussy pronouns. Pushing physical limits with a pre-negotiated safe word in place for it.

Note: No more limp dick erasure. We die like [old] men.

Part of the Waiting Game ‘verse | Word count: 986

Joel just wanted to prove he could fuck like he used to.

He didn’t think he’d almost kill you in the process.

“JOEL!” you screeched, heels digging deep in the mattress as your climax came in seismic waves.

The stimulation was insane. Normally the much-older man would have been down for the count after two—and usually one—big O, but now his chest was heaving, hips relentlessly beating a punishing pace against your own.

Your walls were slick with not only your cum but his, milky ropes of his arousal making for an obscene set of sounds every time his dick slid in and out of your cunt. You could feel his balls tighten and twitch with every forthcoming spurt of him, practically reeling with the pulse of each new sticky gift inside you. His groans rumbled low, but the power and pleasure and outright primal fervor they conveyed were unmistakeable. You had to look down, feebly, to believe it yourself—Joel never fucked his way through your orgasm and his.

Then you felt a palm slide up the back of your head, and Joel held it up to make sure you watched him fuck you.

“J-Joel,” you whimpered, watching his girth disappear and reappear at least a half-dozen times as you did.

“Just a little more, honey,” he murmured against your forehead. The smack of each thrust was dizzying, “Want my pretty girl nice and full’a me before she leaves, okay?”

Joel never could let you head back to college without a few of his loads and a head full of filthy memories—something to hold you over until your next visit home. You would’ve liked to mumble back, ‘Okay,’ but then your pussy clenched around him, and his thrusts grew faster.

“My sweet girl,” he grinned, “She likes that, huh?”

You could scarcely manage a nod. The weight of your head was held fully by him, and if that wasn’t indicative enough of your fucked-out state, your face surely said the rest. When Joel leaned back to adjust the angle of his thrusts, he caught sight of your hooded, glossy stare and almost came all over again. He slowed his pace for once.

Then he dipped a finger between your body and his, just long enough to douse the tip of his digit with cum. He bottomed out inside you, watched you part your lips in a gentle gasp, and pressed his touch to that open space.

It was almost like you didn’t have the strength to suck. You just let him smear the sticky stuff along your lower lip, gaze plastered to his. Then Joel’s cock sank deeper.

“O-ow!” you whined, partly reanimated by the stretch.

“You can take it,” Joel grunted.

The double entendre wasn’t lost on you. You could, and would, take his finger and his cock inside. You suckled dumbly on the cum-drenched fingertip in assent.

But when Joel’s finger popped out of your mouth and his thrusts picked back up, you weren’t entirely convinced you would be able to hold up the second half of that deal.

It wasn’t fair. He took one magic pill, and poof, his dick stayed hard for half the fucking day. You had nothing but your youth and two shaking legs to ensure your survival. When Joel worked his cock back and forth a couple more times and it seemed your body was about ready to scream, you took hold of his biceps and squeezed tight.

“I can’t.”

“Can’t what?”

The tip of his cock nicked a soft ridge inside you, and you jolted back. Joel’s palm was still pressed to your head, holding you to him, and his hips had you pinned as well.

Instead of answering, you whimpered.

You didn’t want him to stop, but you also weren’t sure if you could handle any more. Your eyes met his, pleading.

“Can’t what?” Joel pressed, a little more sternly.

Another whimper. Inside, Joel’s cock was rubbing that pleasure point raw, and you felt another climax coming.

“Use your words.”

“Too— too—”

Each new thrust was sending stars before your eyes. Joel was one sick man if he tried to make you talk while he fucked you past the point of all intelligible speech.

“Too what? Tell me, baby.”

You’d get that fucker back someday. Joel just grinned.

“Too much,” you hissed when his hips delivered another mind-numbing push. Then, feeling pleasure threaten to peak at almost a painful degree, “Toomuchtoomucht—”

Joel continued thrusting, knowing damn well you knew what to say if you really wanted him to stop. As if to underscore this point, he tipped your head back and made you hold his gaze, features creased with a frown.

“That sure don’t sound like the safe word to me.”

It wasn’t. You knew it wasn’t. He didn’t need to tell you twice, or even breathe a second word besides. With one more brush of Joel’s thick, throbbing, implausibly hard cock, he sent you over the edge and into your fourth orgasm of the morning, hitting that spot again and again.

And again.

And again.

Just like before, Joel fucked you through each wave, catching your lips this time to stifle your cries. You might’ve gone blind for a second or two, but that was alright; the pleasure, proximity, and then the sweet, erratic pulse of his cock sending rope after rope of his cum deep inside made the overstimulation worthwhile.

Your body went limp against the bed, held tight in Joel’s grasp, when you felt that sickly sweet dichotomy of soft, tender touches and a cock lodged between your walls that was as hard as it had ever been. Still trying to console you with kisses, still trying to warm you up for another round, perhaps, Joel almost laughed out loud in your mouth when you groaned into his and whispered:

“Please don’t ever take that fucking pill again.”

[hinamie]

i don't normally participate in these redraw challenges but it's megumi so i'll make an exception