#i have the most power in all of the land

[thxnks4themrms]

I’m gonna have another best friend end of the year quiz btw

the person who gets a majority of it right will be crowned the awesome sauce sigma of bolos edgekingdom 2024

[egophiliac]

C'MON TO THE THEATER!

I love these guys so much. forget NRC, I want to attend their terrible disaster school for disaster children that might actually be plastered on top of the smoking remains of an actively sinking ship. I may or may not actually learn anything, but I will have the time of my life.

[justaz]

need post magic reveal/ban repeal where magic is free and everyone grows in their knowledge of just what magic is and how it works etc, etc. merlin (isn't one for bragging about his powers) doesn't really mention much about his magic so people just assume he has enough to get by with like chores but not enough to catch the ire of uther EXCEPT for gauis, lancelot, and arthur bc gaius and lancelot have known about him for years and know what he's capable of and arthur sat merlin down and demanded all the stories so arthur knows he'd be a formidable opponent but he doesn't really get it yk? so he's like "yeah merlin has magic and he's capable of defending himself and camelot so he's probably on the more powerful end of the spectrum like every other sorcerer who is powerful"

and then i need merlin to be Different. like noticeably different. like idk a sorcerer is like trying out to be court sorcerer (bc merlin doesn't want another job dammit arthur give it morgana or someone-) and they perform this elaborate spell that captivates merlin and he starts asking all these questions and the sorcerer is like "yeah it's super difficult, it took me months to get it right and it takes years for some others-" and they cut themselves off bc merlin was just like "i wanna try" and does it perfectly first try. the sorcerer is seething.

camelot is hit with a heatwave and everyone is suffering and arthur is just like "morgana can you make it rain or something? it's too hot to breathe." and morgana is just like "no you idiot i can't just bend nature to my will. it doesn't like that." and merlin finally arrives with waterskins full of nice, cold, refreshing drink that the knights are frothing at the mouth to get. arthur complains again and morgana huffs and merlin is like "has he been like that this whole time?" and morgana nods with a groan and merlin laughs before going "i can try something" and leaves before anyone can say anything and arthur looks at morgana and is like "i thought you said nature doesn't like to be controlled?" and she's like "it doesn't" and then they all chase after merlin but he's chilling in the courtyard with his eyes closed, not even chanting, and then the sky starts to darken as black clouds roll in, the temperature plummets and then...snow begins to fall. in july. they all end up having a snowball fight.

a power hungry sorcerer comes along and is like "emrys....he's perfect....just what i need...teehee" and casts some spell over merlin and begins to siphon his magic and his power and merlin feels waves of his magic flood through the connection and into the sorcerer and like he's a mix of panic and concern bc yeah this mf is taking his magic but they're taking his magic. merlin tries to bargain or talk them down while the knights and arthur try to attack but the sorcerer keeps pushing them back and ignores merlin and is like "i want power, i want your power" blah blah blah monologue time and they swing another wave of magic out at the knights and knock many out while killing some and merlin is just like "ok no that's all folks thanks" and starts to push his own magic through the connection. the sorcerer has this wild gleam in their eyes and they feel more and more power fill them and it's like a high until it gets too much and they frantically try to sever the connection and their telling merlin to stop but merlin is just like "i thought you wanted my power? i'm giving it to you" and continues to flood the sorcerer with his magic until gold begins to trace their skin and they idk explode or smth and then all the magic flies back into merlin and he flexes his hands. unnamed knights 3, 6, 22, 53, and 55 still died so it's a tragedy.

a bunch of sorcerers are entertaining at a feast (kind of like the trickler) and they cast illusions all around the room that look real enough (unless you look too closely or touch it bc they are somewhat see through and your hand would pass right through them) and it's a fun and joyous night. later that week, the knights bring it up during their break while training and merlin is like "sure, what illusion should i cast?" and after some back and forth, he settles on the illusion of a dragon. it's around the size and age of aithusa bc that's all he has to go off of and it's gold since he took inspiration from the pendragon crest all around the area. it jumps around and flaps it's wings to get some air and it's all fine and dandy until elyan goes to poke his hand through it's ribs but meets physical scales and he jumps up into percival's arms. merlin looks closer and is like "oh. its real. whoops." and leon is like "whoops?? you make a real life dragon and all you have to say is whoops?" and merlin shrugs and is like "it was an accident" and leon about keels over from a heart attack "an accident? how do you accidentally-" the dragon is considered a gift from magic to camelot and helps further heal the wounds of uther's purge.

idk just like merlin being casually the most powerful sorcerer to walk the earth and unnerving people just by how little he seems to care about his shows of power but they're all like "well he's just doing all these small things that don't harm anyone and he doesn't even seem to realize just how powerful he is so what can ya do?" and they leave it be and make peace with merlin being Like That. and then camelot/arthur is attacked or smth idk and then everyone gets to see exactly how powerful and dangerous merlin is

[envolvenuances]

This one gives a general summary of the importance of women in the fight for the idependence of Mozambique

And for a more present context

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)

[dbphantom]

Hate having adhd went to go work on my fallout modpack, got distracted while going to disable the steam overlay, ended up in the points shop, went to go edit my profile, decided to change my pfp, found a buried folder I forgot existed, found some old Veneer art I forgot existed, spent 45 minutes looking at all the old photos, STILL HAVE NOT TOGGLED ONE SIMPLE OPTION THAT SHOULD'VE TAKEN 30 SECONDS AT MOST

[nightswatchdisbandmentera]

There’s something so…gorgeous about how the story of Vermax laying dragon eggs in the crypts of Winterfell works as piece of symbolism. It doesn’t really matter if physical dragon eggs exist down there imo because this story adds so much meaning to Jon’s status as a hidden dragon and also his status as one of the last remaining scions of House Targaryen. Plus it does a lot to contextualize how Ned’s action of saving his nephew’s life is in line with centuries old magic, even though he never intended it to be such.

Because Jace and Cregan quite famously made a pact which was called the “Pact of Ice and Fire”, in which they promised to join their houses through the union of marriage. We also have the canonical representation of Starks as 🧊 and Targaryens as 🔥. Two opposing sides that could do harm to each other have decided to come together through marriage and procreation. Through this pact comes a new life that will be a balanced union of ice and fire.

Then we get the story of Vermax laying eggs in the Winterfell crypts. An act that symbolizes the continuation of life. It’s so interesting because we know how this story ends. We know that after this, the dragons will die and will be no more in Westeros….BUT there’s the exception of the eggs in Winterfell. They may be unhatched but they are like a promise of life. And it’s Winterfell’s crypts that keep them hidden from danger and Winterfell’s heated walls that cover them.

What’s even more gorgeous is that this pact is made in a period of civil war that threatened the survival of the Targaryen dynasty. And like… isn’t that Jon Snow’s life story?! He was born at the tail of of Robert’s rebellion which saw the death of the Targaryens. Aerys and Rhaegar (and Rhaegar’s children were dead). A child Viserys, Rhaella, and an unborn Dany were all that was left of the Targaryen legacy.

And then comes the unexpected Jon Snow. Born of the union of Stark and Targaryen, ice and fire. Ice and fire were on opposing sides in the war and killed each other. But then comes Jon Snow to mend that rift and heal that divide. He is born after a period of death to represent new life and new beginnings. He’s just a little baby but he symbolizes so much!

It’s why I think Jon serves better as a symbol of spring and not winter. Because everything about him represents the promise of life after death: born at the end of a civil war, him being represented by a winter rose, him being symbolized as the corn king (a mythical figure who represented the cycle of life and death), his presumed death at the end of ADWD but the promise that he will be resurrected, etc.

And then we have Ned Stark being the unwitting proxy to his ancestor Cregan. Ned took this dragon egg and hid him away within Winterfell’s walls. Then he took Jon’s mother and also placed her in the crypts. It’s no wonder that Jon has so many strange dreams regarding the crypts. Symbolically, the secret of his birth being hidden away in the crypts ties in quite nicely with Vermax’s hidden dragon eggs. In both cases, a symbol of Targaryen life is hidden within the walls of the Winterfell crypts. Then there’s Summer’s strange vision of a winged serpent as Winterfell burned. Many fans has often wondered what this vision meant. I’m not sure either, but it would be a nice touch if this is a symbolic representation of Jon Snow. As it was with Summer’s vision, Jon is the dragon that has hatched and left the confines of Winterfell’s walls, and he is ready to do some damage.

[vampiresuns]

having a tav that's a Lloth-sworn life domain cleric of a noble background who before getting yeeted into the nautiloid was a sacrificial priestess (gn) during one of the cycles of Drow society and had their own altar and temple under their care, means Solune would have the most insane however many minutes they spent interacting with Minthara and I am obsessed about it. As far as I'm conceptualising it, I'm thinking of Lloth as extremely Ungoliant-like. Goddess of hunger, goddess of wanting and consumption, goddess of excess and exuberance, goddess who unmasked the hypocritical gods of starvation, guilt and purity into a society that cherishes a certain kind of clarity about the double standard they impose. For Drow are evil for their wars and their wanting and their taking, but those other people with their other gods kill, warmonger and enslave with no regard and no self-awareness, calling the indignation about receiving scraps from a bunch of silent, unrepentant gods, "guilt and shame". There is violence in denial and her Children will not suffer it.

In the season of Life, they do not sacrifice the unwilling. It is taboo. The only sacrifice that matters is the desire to be devoured and destroyed by the things you love the most.

And Solune sees Minthara and is like fucking finally, someone rational enough to get what I'm going through, that they're losing their mind that their life was taken from them and if they become this other thing, if they transform, if they do not remain Luxe Solune Mizzmyrra, Life Knife of Lloth, they're never going to be able to be reintegrated into that life. They will die away from home, from their temple, from their (first) spouse, from their mother and their siblings and there won't be the day when they too succumb to the knife, when it is time, when the day they no longer feel hunger comes.

And then the parasite gives them an in into Minthara thinking she was raised from the darkness into a FALSE GOD? One thing you do not do is steal from Lady Lloth, and oh my god, there could've been a time, a chance that existed only in ignorance, of Solune lending a hand to Minthara but this to them is unforgivable because Solune is genuinely a good friend to their friends, but if you keep peeking into whatever mindset nobility and religious authority has given them it's like realising your friend is a cesspool of "what the actual and everliving fuck", and when the knife of the morningstar priestess comes down on Minthara it won't be with love but with absolute rage, grief and disgust and I will be thinking about this for evermore. Thanks, I'm not well

[wychelm]

if there were just ONE word or concept I could communicate to animals it would be gift. I usually refill the birdbath twice a day and when the blackbirds come to bathe they watch me so warily. but I did it for you... it's a gift. exhausted bee my dear friend that spoon of sugar water is a gift and you don't have to be afraid. snails stuck in the watering can because his shell was too big to fit through the nozzle I'm going to get you out of there brother even though I'm sure being pushed back the way you came seems like some deep callous evil on my part. but I promise it's a gift. I don't even mind if you eat all my plants. I don't even mind if a bird eats YOU. as long as the suffering is minimal and the death contributes to life instead of being wasted. what else is there

[forcedhesitation]

mayrina is STILL pregnant in act 3????? you're telling me we've done ALL this shit in barely any time at all? wasn't she close to having her child in act 1? there's no way we breezed through act 1 and 2 that fast. I could believe the whole game taking place over 9 months. but if mayrina's still not given birth between acts 1 and 3....that would suggest it's only been a month at most, right? which just. makes No sense to me.

[canadiangold]

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[royalberryriku]

Gonna review all the sources I've been provided with (they're damning for the zio so rip to them but thanks for the sources lmao), and been searching through more sources from the time periods in question and, well, basically I started a thing.

(sorry for the blurriness) An overall essay going through the evidence and providing a small splash of input as someone noticing a lot of discord in said evidence, which isn't surprising but still it is telling how zionists cherry pick.

Anyway, the more I learn, the more I realise that there's a lot of political and nationalistic push to emit details in some papers, while pushing for certain conclusions based on the framing of the research for others. I think this is legitimately just unproductive when acknowledging the subjectivity of history as a study and the way certain overlap may point to a conclusion that isn't preferable by a variety of people, from researchers to the intuitions that may use or pay for the research to begin with. I find this in studies that delve into contentious topics in general. It's why it's so important to note the overlap and notice the inevitability of bias in understanding these topics.

As far as the history the Middle East goes and who colonised who, I think many disregard the simple theory that, perhaps, colonisation itself can be something inflicted by the post-colonised and equally be something done to a group with connections to conquest, ultimately making both the same in terms of land rights and the concept of legal ownership. Or, more specifically, that Zionists' attempts to become conquests have since reduced their claim, just as it would reduce a Babylonian, despite their deep links to the land and, arguably, being one of the first social groups before or at the same time as the Israelites.

History and Carbon Dating specifically become difficult to assign moral value of land rights to when cultures blossom and change in such extreme ways (to the point of being unrelated or unrecognisable with those from ancient eras) with the passing of time. The racial blame placed by Israel is thus shown to be one of mistaken vengeance and generally racial profiling of modern Arabs, just as the Persian, Turkish, Roman and British empires showed signs of racist attitudes to employ totalitarian tactics of rule over the peasantry. Being the colonised when one is willing to colonise with the same means reduces the ethical claims and, meanwhile, the history itself reflects greater nuance than political nationalists may desire of it.

Ultimately, as I search further and further, I find that the claim of nationalism and identity is a mere shared ideal of all empires formed through conquest and the desire for ownership of abundant resources. Meanwhile, I find that the idea of an ancient homeland to reclaim is obsolete when the people in question do not resemble those they wish to avenge. Culture evolves with geography and time, a constant for every country's history. Religion, culture and the concept of a homeland forms where the resources are abundant, rather than any legitimate greater or lesser claim from neighbouring tribes and civilisations. The wish of a Promised Land is a logical conclusion for any group seeking refuge from the elements; a moral argument filled with human necessity and a shared common ground if faced with an open mind and a willingness to review the past, while simultaneously moving on from it. The complexity becomes simple when it is understood that only the present can take responsibility for the present; and choose a better path than those who horde resources in the modern age of globalised colonialism.

[imaginedisish]

Lover, You Should've Come Over (Logan Howlett x Fem!Reader)

A/N: Get ready to cry. This is based on a request I received yesterday where the reader gets jealous of Jean. I tried to take this in a different direction just because I feel like this is a popular trope that has been done by many fantastic writers. It's also inspired by "Lover, You Should've Come Over," by Jeff Buckley. Hope you guys enjoy.

Summary: You've been pining after Logan since you joined the X-Men, and you're convinced he'll never love you back. He’s obsessed with Jean—always has been. Or...maybe he's not.

Warnings: SMUT 18+ MINORS DNI, Oral (f!receiving), fingering, PIV (unprotected...pls WRAP IT UP THIS IS FICTION!), overstimulation, multiple orgasms, f!reader/afab!reader, telepathic!reader, cocky!Logan, softdom!Logan (kinda? yeah.), non-canon compliant (you'll see what I mean...no spoilers), cursing, angst, feelings, implied mutant trauma (kinda a given in X-Men), probably some grammatical errors, I think that's it.

Word Count: 4,197 sorry

Wanting someone you can’t have—it’s that crying in the shower, pulling your legs into your chest, screaming into your pillow kind of heartache. You’ve come to know the feeling intimately. It’s an awful, horrid, stomach-churning kind of pain.

But you want him. Despite all the pain, you want him. Logan Howlett. You can’t seem to keep him off your mind. For the few months you’ve been one of the X-Men, Logan has been a constant. He’s always there—whether it’s to train or just to talk. But you know he’ll never want you. You see the way he looks at Jean. You wish you didn’t. You wish you were oblivious to that sort of thing. But you don’t need to use your telepathy to reach inside his mind for proof—you just know. 

You keep holding on, savoring every moment, every interaction you have with Logan. You sit on the lawn of the mansion with him, watching the sunset. You’ll come down to the living room late at night to find him sitting in front of the T.V. and join him. Sometimes he’ll drape an arm around your shoulder. He’ll draw circles into your side as you drift off. You’ll wake up the next morning back in your bed, Logan having carried you there long after you’ve fallen asleep. 

You’ve decided you’ll take all he’ll give you, even if it means nothing to him—even if it's platonic. 

But tonight, you wish something would come up through the floor and swallow you whole. A void, a black hole maybe. That would do the trick. Disappearing would make everything so much easier. The second-best thing to disappearing is sitting in the kitchen of the mansion, alone, with a pint of ice cream. You decide to practice your powers, moving the silver spoon with your mind, concentrating as you dig the spoon into the top of the pint and into your mouth. 

You hear a warm, familiar chuckle from the doorway as the spoon lands on your tongue. You look up, and there’s Logan, arms tucked across his chest. “Wish I could do that.”

You can’t help but smile around the spoon as he strides over to you, taking a seat on the stool next to yours. You slide the spoon out of your mouth and rest it on the napkin next to the ice cream. “Hey,” you mutter, wiping your mouth with the back of your hand. 

His shoulder brushes against yours. He’s so close it hurts. You try to shove the pain down and enjoy the moment. 

“Was hoping I’d run into you down here. Thought maybe you’d be in bed already,” Logan says, his eyes locked on yours. 

You shake your head, doing your best to keep that fake smile plastered on your face. “Couldn’t sleep.” 

You can see the sudden concern appear on his face. “Everything okay?” He asks, tilting his head to the side. Fuck, you think to yourself. Maybe he’s catching on. 

“Yeah,” you murmur, looking down at the ice cream. “Just still having a hard time adjusting.” It wasn’t a lie. You had always struggled with your powers, longing to hide, to shove them down. Your whole life, you were either a freak or something to be used—whatever was most convenient in the moment. The struggle between visibility and forcing yourself to be “normal” was an impossible battle. You were no stranger to being taken advantage of or being experimented on.

Logan was the first person who understood that—understood you. He made you feel seen in a way that no one ever had. It’s part of the reason you’ve fallen so hard for him. 

His hand is suddenly on your back, yanking you from your thoughts and back to reality. “I’m here,” he whispers. “Whatever you need, anything.” 

Anything. You wish he really meant it. 

“Thanks, Lo.” You smile up at him, letting your eyes linger on his lips for just a second before looking back down at the ice cream. “Want some?” You ask, nodding at the pint. 

“Only if you feed it to me the way you did when I walked in.” You can hear the smirk in his voice as he taps the spoon. You side-eye him incredulously. “I mean it. Wanna see you do it again.” There’s a husk in his voice, a shift in his timber that sends a chill down your spine. You try not to think about it too much as you pick up the spoon with your mind. 

You guide the spoon inside the pint, scraping the top, and lifting it up towards Logan’s mouth. He opens wide as you lead the spoon inside, his tongue hitting the bottom as his lips close around it. The implications of the moment don’t dawn on you until he’s grabbing the spoon with his hands and sucking on the metal. There’s something undeniably suggestive about this. 

Heat rises to your chest as you replay the image of him taking the spoon into his mouth in your mind. It’s so intimate, so domestic. And, certainly, something else—something that makes you tick, that makes that familiar fire grow deep within your belly. 

But—like always—the moment doesn’t last long. You wince, feeling someone itching against your thoughts, prodding at your mental shields, begging to be let in. Suddenly, there’s another voice in your mind. 

I gotta try that myself. You flinch at the sound, taking the spoon from Logan’s hand and shooting it across the room to where you sense the person’s presence. You turn around, and there’s Jean, resisting the spoon’s trajectory with her mind. 

It's almost pressing into her skull, shaking in mid-air, ready to break her skin. You gasp and drop the spoon, embarrassed to have registered her as a threat. “I’m so sorry,” you say, watching as Jean crouches down and picks up the spoon. “I didn’t know that was you in there, I swear.”

You expect Logan to stand from the chair and rush over to Jean, but he stays next to you, glued to your side, the palm of his hand resting gently on your back. “Jean.” His voice is firm, almost cold and harsh. “What was that?” You’re surprised at how curt he’s being with her, surprised he remembered that you’re sensitive to people probing around your mind, even if it’s friendly. 

Jean mutters a curse. “I was just communicating with her. I didn’t think she’d—” 

Logan stands, his hand still steady at your back. “Don’t do that again. Ever.” His voice is louder now, heavier. 

She whispers an apology, setting the spoon on the counter and walking towards the doorway. “I really didn’t mean to hurt you,” she says. “I should’ve remembered given your…” she pauses, searching for the word, “past…that it wouldn’t be a good idea.” She takes another tentative step. “I’ll leave you two alone,” she says, and she slips out. 

Logan settles back into the stool next to you. You’re shocked that he’s still here, that he hasn’t run away yet. You can hear him breathe—in and out—gentle, long breaths. You close your eyes and listen, the sound calming you down. You’re still expecting him to leave, to walk away, but he doesn’t. 

“You okay?” He asks, your eyes fluttering open, his voice hanging in the air. His head is tilted to the side, worry painted across his face. 

“Y-yeah. I’m fine,” you stutter, your voice cracking. “You don’t have to stay with me. You can go check on her if you want.” You nod towards the doorway—to wherever Jean wandered off to. 

“And why would I do that?” Is all he says in return, furrowing his brows. 

You put on that fake smile again. “I almost jammed a spoon into her forehead because she spoke to me telepathically.” You shake your head. “Don’t really think my reaction was particularly friendly—or something that good people do.” You break eye contact with Logan and look to the other side of the kitchen. “Plus, you two are…close.”

“Hey.” His voice is firm again, but gentle this time, reassuring. His hand slips across your back and rests on your waist. You’re so shocked by the contact that you almost miss what he says. “First of all, she knows better. Charles warned her about what you’ve been through. And second…” He trails off, smirking at you. “I’d rather be with you.”

Oh? Oh. He’d rather be with you. 

“I just thought, you know, you and Jean were…” You’re too embarrassed to finish the sentence and too nervous to hear him say the words you’ve been dreading most. 

He shakes his head, that smirk still spread across his lips. “No, it’s not Jean I want. Never has been.” 

Your breathing becomes shaky—your heart beating rapidly in your chest. “If it’s not Jean, then—” 

Logan cuts you off as he suddenly moves. His arm lifts from your waist as he stands, turning your stool around so your back is against the cold countertop. He’s gripping the arms of the stool now, caging you in. Your mind is hazy—you can’t concentrate with him this close. 

“You think I do the shit I do with you with Jean too, hm?” He’s towering over you, his head cocking to the side, his voice self-assured and confident. “Think I’m watching movies and sunsets with her? Carrying her to bed, too?” 

You’re overwhelmed, dizzied by his words, his size, him. “Just thought that—”

“Just thought what?” He cuts you off again. “That I didn’t want you, darlin’?” He brings his lips to the shell of your ear, one hand moving from the counter to your hip. “Wanted you this whole time,” he huffs, goosebumps rising on your arms. “Only you.” He presses a kiss to your ear, and then just underneath your jaw. 

“Logan,” you whisper. “W-want you too,” you choke out, your hands coming up and around his back. “B-but someone’s gonna walk in on us.” 

He’s ignoring you, biting your pulse point lightly and licking the pain away. “Let them,” he husks, refusing to stop. You instinctively bring your hands up to the nape of his neck, your nails digging in slightly. He groans at the contact, his chest heaving against yours. 

“One of the kids is catch us in here, or somebody else,” you mutter, his face still buried in the crook of your neck. “W-we should—”

“Go to my room.” He finishes your thought. 

“Please.” 

And then he’s picking you up from the chair, his hands under your thighs, grabbing your ass. You wrap your legs around his waist as he prowls out of the kitchen. He looks both ways as he crosses the hallway and makes his way to the stairs. There’s no one in sight. He carries you up the steps and down the hall to his room, practically breaking down the door as he swings it open and slams it shut. 

And then he’s laying you down on his bed, crawling over you, pressing his forehead against yours. “Wanted you in here sooner,” he murmurs, his lips just inches from yours. “Hoped you’d come over one night. You should’ve.”

His lips crash down onto yours before you can find the words to say. He’s starving for you, swallowing your moans as his hands slip under your shirt, his nails digging lightly into your sides. “So fucking beautiful,” he rasps against your lips. Everything is desperate and rushed, hands pawing at bare skin in the dim light of his room. 

Logan tugs on the hem of your shirt, rolling it up your body and over your head. He tosses it to the side as he sits up on his knees, taking you in. He curses under his breath, looking you up and down. 

“Logan,” you whine, arching your back. You need his hands on you again, his lips. Something. Anything. 

“I know, pretty girl,” he soothes, his fingers hooking inside the waistband of your shorts. “Gonna take care of you.” He yanks them down your legs, leaving you in just your bra and panties. 

He pulls off his own shirt, tossing it carelessly, letting it get lost on the floor. He settles back down over you, balancing on his forearm as his free hand finds your waist. He slides up to the bottom of your bra, teasingly pulling on the fabric before slipping his hand behind your back—skillfully unclasping the bra with one easy motion. You arch your back again, the bra straps sliding down your arms as Logan tosses the bra to the floor, too. 

“Fuck,” he mumbles, his hand tracing the curves of your breasts, massaging gently. “Perfect.” He captures your lips in another kiss as his thumb ghosts over your nipples, just barely giving you the relief you need before pinching softly. The pressure feels so good, so right, but it’s not enough. 

He draws circles around your nipples with his thumb, the sensation feeding the aching fire between your legs. Your hips involuntarily lift off the mattress, meeting his. “Need me that bad, huh?” He is always so incredibly cocky, even now—especially now. He knows exactly what he’s doing to you, and what to do next. 

Logan grinds his erection into your core. You can feel how big he is, the weight of him heavy against your cunt even in his jeans. You clench around nothing, whining his name as his strained cock teases your panty-clad pussy. “You want me to make you feel good, pretty girl?”

“Y-yes,” you stutter, biting your lips as his hand leaves your tits and sweeps down your stomach, stopping just above your clit. He slides his fingers down just a bit more, feeling where your arousal seeps through your panties. 

“Already soaking for me, sweetheart.” The bassy timber of his voice stokes that flame deep within your belly. Without warning, he’s hooking his fingers into the waistband of your panties and yanking them down your legs. “Can’t wait anymore, pretty girl,” he whispers. “Wanna taste this pussy.” He kisses your belly button, leaving a trail down the rest of your stomach as his mouth travels to where you need him most. 

There’s something depraved about the way he’s crawling down your body, taking in every inch of you. He spreads your legs apart with the palms of his hands—his thumbs brushing against your bare skin, licking teasingly at your inner thighs as he settles in between them. 

He pauses, looking at you under hooded eyes. You can see the want—no, the need—in the way his muscles flex and how he works his jaw. But he’s hesitating, his breath hot against your core, sending another jolt of desire through your body. Your chest rises and falls rapidly, your eyes searching his for his next move. 

He finally presses a kiss to your clit. “You don’t understand how you make me feel,” he mumbles against your heat, licking a long stripe through your folds and back to your clit. “No idea how long I’ve fucking wanted you.” You throw your head back, whimpering his name as he laps again and again. He’s starving, and you’re the only thing that can satiate his hunger. His tongue swirls around your clit, flicking it, taking it in between his lips and sucking hard. 

Your hips lift off the mattress and Logan quickly moves to hold them down. “You’re not going anywhere, darlin’,” he grunts against you, the vibration of his voice going straight to your core. 

His free hand slips up the inside of your thighs, teasingly climbing higher and higher, his nails skimming your flesh. He’s toying with you, leading you on, taking his time. His fingers finally ghost over your folds, exploring you, stroking up and down as his tongue laps at your cunt. 

Logan prods your entrance with two fingers, slipping in just a bit, testing the waters. “Please,” you beg, pushing your hips down in an attempt to sink his fingers deeper into you. He stops you, his hand still firmly holding your hips down, refusing to give you the release you’re dying for. 

“So fucking impatient, aren’t you?” He tuts. And then he’s shoving two fingers all the way inside you, down to his knuckles. “Such a pretty pussy.”

“F-fuck!” You cry out, your eyes rolling into the back of your head as he sets a relentless pace. He’s drinking you in, sucking roughly, his long fingers pumping in and out with a vengeance. 

“’This what you wanted, pretty girl?” He asks condescendingly in between laps. You’re too fucked out to form a sentence, your legs trembling underneath him. You know he’s loving this—loving that you’re a wet, needy, whimpering mess. 

Your walls squeeze around his fingers, your swollen clit throbbing as he laps at you. You’re so close already. “Lo,” you call out, fisting the sheets of his bed. Everything in here smells like him: pine and mint and musk and tobacco and that thing that’s uniquely Logan. It’s all so overwhelming and overstimulating. You’re ready to fall apart, to melt into nothingness. “S-so close.”

He squeezes your hip. “I know, sweetheart,” he soothes, his pace unwavering as his fingers fuck into you, scissoring inside you, drawing you closer to your climax with that come-hither motion he does so well. Your walls flutter again. “That’s it,” he coos. “Wanna feel you come—wanna know what it tastes like.” He licks harder, faster. “Let go for me, darlin’.” 

He pushes you over the edge, pleasure warming your belly as you let go. It washes over you in waves, his fingers still pumping in and out, his tongue still hanging on to the taste of you. You ride it out, his thumb brushing your hip, coaxing you through it. His fingers slip out of your cunt, but his head is still buried between your legs. You shudder as he licks long, slow stripes through your folds. 

“So fucking sweet,” he growls, still starving for more. “Not done with you yet.”

Fuck. 

But you need more—need his cock deep inside you, pounding into you. You need him in front of you, his lips on yours. 

“Logan,” you whine, your voice shaky and trembling just like the rest of your body. He finally lifts his head, his hair a disheveled mess, your juices glistening on his lips and his chin. The sight of him makes your breath hitch in your throat. There’s a feral, needy look in his eyes. He’s starving for more of you, and you’re not quite sure he’ll ever get enough. 

But he can see your chest heaving and the desire in your own eyes. He knows what you need—he always does. He sits up on his knees, staring at you while he slowly unbuckles his belt. The tension is palpable, the clinking of his belt against the hardwood floors cutting through it like a hot knife—the only sounds the melding of your quick breaths and the shuffling of bed sheets as Logan finally comes up to meet you. 

He's balancing on his forearm as he unbuttons his jeans, undoing the zipper and shoving the denim and his boxers down his legs. You swallow at the sight of his cock springing against his stomach. You had felt his erection before, but he is far bigger than you ever anticipated. 

With one hand on his cock, he lowers himself in between your thighs. You instinctually spread your legs for him, inviting him in. He nudges against your entrance, taking his time. 

His forehead meets yours, your chests flush against each other’s, panting in sync. You’re both waiting with bated breath, his tip slipping inside, but stopping short before going any farther. 

His Adam’s apple bobs in his throat. “Thought I’d never have you,” he confesses, pushing his tip a bit further in. “Would’ve given up anything for this. Would’ve waited forever.”

“You don’t have to,” you murmur.  “I’m right here. I’m yours.” 

“Mine?”

“All yours.”

And then he’s pushing deep inside you, down to the hilt, bottoming out. He swallows your moans with a kiss, biting your lip, drawing blood, and licking it away. “All fucking mine.” He stays buried inside you, unmoving. “Wanna stay inside you forever, sweetheart,” he growls, your heart bursting at the thought.

He pulls himself all the way out and all the way back in, stretching you out, working you open. You look down in between your bodies and watch as his cock disappears inside of you. “Feels s-so fucking good,” you stammer, already drunk off him. 

“Like watching me fuck into you?” Logan husks, picking up his pace, his hips snapping into yours. 

“Y-yes,” you whimper. His muscles flex as he ruts into you. He takes the hand that was on his cock and brings it in between your bodies, his fingertips quickly finding your clit and giving it a soft pinch. Your back arches off the mattress at the sensation. 

Logan hums at your reaction. “So sensitive,” he groans. “Taking me so good, sweetheart.” You can feel him losing control as he rams into you, his thrusts growing harder with each pump of his cock. He’s drawing firm, fast circles into your core. 

It’s all too much, him, his cock, his fingers. Your skin is on fire, your nipples pushing against his chest—the friction absolutely delicious. You’re already so close, just a few steps away from the ledge, and you’re ready to fall. 

“Know you’re close, darlin’,” Logan moans in between kisses. “Can feel you squeezing me.” 

You hum in response, but Logan refuses to let up. His pace is beyond brutal, pounding into you over and over again, his fingers working your clit in tandem. Your muscles contract around him, gripping tightly. 

“That’s it,” he murmurs. “So fucking tight, so fucking warm.” His praises are more than you can handle. “You gonna come on my cock, just like this?” 

“Yes, fuck, Logan!” You’re a babbling mess, his name the only thing on your mind, on your lips, hanging in the air like it’s a sacred prayer. Everything is him, and it always has been. In this moment and in every other, he is your end and your beginning. 

 “Let go for me, sweetheart. Know you can do it for me.” His deep voice is all you need to walk you through it. You’re breaking down, coming on his cock, the pleasure coursing through your veins, spreading like an untamable fire. 

He’s stroking your clit long after you’ve come, still snapping his hips into yours, still working up towards his own orgasm. His pace is getting sloppier, but he shows no signs of stopping. You can feel yourself growing overstimulated, his cock rubbing against your walls, his fingers circling your clit. “S’too much,” you whine, your nails digging into his arms, your legs wrapping around his waist. 

Logan presses himself closer to you, as close as he possibly can be. “You’ve got one more in you, sweetheart,” he coaxes, not letting up. “Know you can take it.”

You’re breathless, clinging onto him helplessly. You’re clamping down on him again, taking him deeper than you did before. He’s hitting that sweet spot with every thrust. “Lo,” you whimper. “I’m gonna—”

“I know, darlin’,” he grunts. You can feel him throbbing inside you. “Let it happen, I’ve got you. I’m not going anywhere.” 

The tension is snapping again, breaking in half as he pulls another orgasm from you. You shudder as you come for a third time, overstimulated and beyond fucked out. You know he’s close behind, his hips slowing down, his forehead pressed against yours. He slips his hand away from your clit and around your back, pulling you closer to his chest. It’s so intimate, so perfect. 

“F-fuck,” he mumbles. “Where do you want me to—”

You hold him closer. “Stay,” you whisper. “Want you inside. Wanna feel you come.”

“Oh fuck,” he mutters, plunging deep inside you, his muscles tensing as he fills you up, your name on his lips. His thrusts slow, pumping in and out every now and then before finally stopping. 

You stay like this for a few minutes, his arm keeping you tight against his chest, his cock still buried inside you and your foreheads still pressed together. 

He brings a hand up to your cheek, his thumb brushing gently across your skin. You sigh, your eyes fluttering open and closed. 

He shakes his head. “I always wanted you,” he says, his voice low and raspy. “The whole time. It was only ever you.” 

His words could make you cry. It’s everything you’ve ever hoped to hear. You smile, his hand finding its way to the crook of your neck, his fingers lightly stroking your sensitive skin. “Can’t believe I didn’t see it,” you breathe, your voice laden with sleepiness. “I never knew. Thought you’d never want me.”

“I’ll always want you.” His cock finally slips out of you, leaving you feeling empty. His legs tangle with yours, his lips pressing a chaste kiss to your temple. “Would’ve waited forever for you, darlin’.”

“Forever?”

“Longer.”

[raubtierfuetterung]

I hate being a girl

[girlscience]

I just finished my first non-fiction book in probably years. It was 277 pages long. I can read a fiction book that short in about 2 and a half hours. This took me 3 months to complete. I do wish I was faster with non-fiction, I've got a huge list of science and political and historical books I want to read, but I have to remember these books require more brain power so it's not bad they take longer. The learning is important not the time.