#idk if any of this is comprehensible but WHATEVER

[prettyboysdontlookatexplosions]

it's certainly possible there were some "false negatives" so to speak but IMO the fact that students who were able to parse about half the literal meaning of the text were placed in the "competent" category mitigates the fact that it's a somewhat unnatural way to read. in addition... idk if you read the actual specific forms of confusion that the students displayed and the actual quotes where you see them grabbing randomly onto whatever information they deem potentially relevant, but to me - and again, i'm going here on both the study and the way it aligns with things i have previously observed solely in students who struggle with reading - there is a specific pattern of haphazard engagement that to me makes it pretty evident these students would be unlikely to succeed at independently reading this text regardless of how they did it.

i also personally think that while it's unnatural and it may take time... if you can't give a sentence-by-sentence breakdown of what you've read, then IMO no, you didn't really understand the sentences you read, and if you didn't understand the sentences you read, you didn't really understand the passage/book/whatever, even if you're able to glean the large arcs of plot, character, etc. i'm not sure what you mean by "especially verbose text" - in my experience as a reader and when working with students, wordy, complex texts are precisely the texts where attending to sentence-level comprehension is most crucial. it's a strange exercise but if someone were to give me a pop quiz on a book i was reading by asking me to restate the sentence i'd just read and i couldn't do it, i would take that as a cue that i'd been glossing too much to fully understand it and should go back and parse it more carefully. speaking anecdotally, there have actually been times when i've been working with struggling readers and forcing them to "translate" sentence by sentence has improved comprehension - and i have never once encountered a student who understood text better in long stretches than in short ones, at any scale, although i have encountered students whose lack of comprehension at a medium stretch wasn't immediately evident and seemed to me at first to be simply a lack of precision - when it started to become apparent, these students displayed much more significant short-term (sentence-level) failures of comprehension than i had anticipated when i thought they were simply speaking in generalities rather than failing to comprehend specifics.

the facilitators also gave students the option to read silently if they weren't comfortable reading out loud (which i appreciate because i actually am one of those people who loses a lot of comprehension if i have to read aloud lmao)... overall i mean of course it's a single small study at a pair of demographically similar colleges and not definitive proof of anything but i appreciate it not for its shocking numerical results but for the way it qualitatively describes with some imperfect degree of systemization phenomena i have spent many many many hours of my life encountering and thinking about and trying to articulate.

i appreciated this study: "They Can't Read Very Well: A Study of the Reading Comprehension Skills Of English Majors At Two Midwestern Universities"

essentially, a pair of professors set out to test their intuitive sense that students at the college level were struggling with complex text. they recruited 85 students, a mix of english majors and english education majors - so, theoretically, people focusing on literature, and people preparing to teach adolescents how to read literature - and had them read-while-summarizing the first seven paragraphs of dickens's bleak house (or as much as they made it through in the 20 minute session). they provided dictionaries and also said students could use their phones to look up whatever they wanted, including any unfamiliar words or references. they found that the majority of the students - 58%, or 49 out of the 85 students - functionally could not understand dickens at all, and only 5% - a mere 4 out of the 85 students - proved themselves proficient readers (leaving the remaining 38%, or 32 students, as what the study authors deemed "competent" students, most of whom could understand about half the literal meaning - pretty low bar for competence - although a few of whom, they note, did much better than the rest in this group if not quite well enough to be considered proficient).

what i really appreciated about this study was its qualitative descriptions of the challenges and reading behaviors of what the authors call "problematic readers" (that bottom 58%), which resonated strongly with my own experiences of students who struggle with reading. here's their blunt big picture overview of these 49 students:

The majority of these subjects could understand very little of Bleak House and did not have effective reading tactics. All had so much trouble comprehending concrete detail in consecutive clauses and phrases that they could not link the meaning of one sentence to the next. Although it was clear that these subjects did try to use various tactics while they read the passage, they were not able to use those tactics successfully. For example, 43 percent of the problematic readers tried to look up words they did not understand, but only five percent were able to look up the meaning of a word and place it back correctly into a sentence. The subjects frequently looked up a word they did not know, realized that they did not understand the sentence the word had come from, and skipped translating the sentence altogether.

the idea that they had so many trouble with every small piece of a text that they could not connect ideas on a sentence by sentence basis is very familiar to me from teaching and tutoring, as was the habit of thought seen in the example of the student who gloms on to the word "whiskers" in a sea of confusion and guesses incorrectly that a cat is present - struggling readers, in my experience, seem to use familiar nouns as stepping stones in a flood of overwhelm, hopping as best they can from one seemingly familiar image to the next. so was this observation, building off the example of a student who misses the fact that dickens is being figurative when he imagines a megalodon stalking the streets of london:

She first guesses that the dinosaur is just “bones” and then is stuck stating that the bones are “waddling, um, all up the hill” because she can see that Dickens has the dinosaur moving. Because she cannot logically tie the ideas together, she just leaves her interpretation as is and goes on to the next sentence. Like this subject, most of the problematic readers were not concerned if their literal translations of Bleak House were not coherent, so obvious logical errors never seemed to affect them. In fact, none of the readers in this category ever questioned their own interpretations of figures of speech, no matter how irrational the results. Worse, their inability to understand figurative language was constant, even though most of the subjects had spent at least two years in literature classes that discussed figures of speech. Some could correctly identify a figure of speech, and even explain its use in a sentence, but correct responses were inconsistent and haphazard. None of the problematic readers showed any evidence that they could read recursively or fix previous errors in comprehension. They would stick to their reading tactics even if they were unhappy with the results.

i have seen this repeatedly, too - actually i was particularly taken with how similar this is to the behavior of struggling readers at much younger ages - and would summarize the hypothesis i have forged over time as: struggling readers do not expect what they read to make sense. my hypothesis for why this is the case is that their reading deficits were not attended to or remediated adequately early enough, and so, in their formative years - the early to mid elementary grades - they spent a lot of time "reading" things that did not make sense to them - in fact they spent much more time doing this than they ever did reading things that did make sense to them - and so they did not internalize a meaningful subjective sense of what it feels like to actually read things.

like, i've said this before, but the year i taught third grade i had multiple students who told me they loved reading and then when i asked them about a book they were reading revealed that they had absolutely no idea what was going on - on a really basic literal level like "didn't know who said which lines of dialogue" and "couldn't identify which things or characters given pronouns referred to" - and were as best as i could tell sort of constructing their own story along the way using these little bits of things they thought they understood. that's what "reading" was, in their heads. and they were, in the curriculum/model that we used at the private school where i taught, receiving basically no support to clarify that that was not what reading was, nor any instruction that would actually help them with what they needed to do to improve (understand sentences) - and i realized over the course of that year that the master's program that had certified me in teaching elementary school had provided me with very little understanding of how to help these kids (with perhaps the sole exception of the class i took on communications disorders, not because these kids had communications disorders but because that was the only class where we ever talked, even briefly, about things like sentence structures that students may need instruction in and practice with to comprehend independently). when it comes to the literal, basic understanding of a text, the model of reading pedagogy i was taught has about 6 million little "tools" that all boil down to telling kids who functionally can't read to try harder to read. this is not productive, in my experience and opinion, for kids whose maximum effort persistently yields confusion. but things are so dysfunctional all the way up and down the ladder that you can be a senior in college majoring in english without anyone but a pair of professors with a strong work ethic noticing that you can't actually read.

couple other notes:

obviously it's a small study but i'm not sure i see a reason to believe these are particularly outlierish results (ACT scores - an imperfect metric but not a meritless one IMO for reading specifically, where the task mostly really is to read a set of texts written for the educated layperson and answer factual questions about them - were a little bit above the national average)

the study was published last year, but the research was conducted january to april 2015. so there's no pandemic influence, no AI issue - these are millennials who now would span roughly ages 28-32 (i guess it's possible one of the four first-year students was one of the very first members of gen z lol). if you're in your late 20s or early 30s, we are talking about people your age, and whatever the culprit is here, it was happening when you were in school.

i think some people might want to blame this on NCLB but i find this unconvincing for a variety of reasons. first of all, NCLB did not pass because everyone in 2001 agreed that education was super hunky-dory; in fact, the sold a story podcast outlines how an explicit goal of NCLB was to train teachers in systematic phonics instruction, because that was not the norm when NCLB was passed, and an unfortunate outcome was that phonics became politicized in ed world. second, anyone who understands anything about reading should need about ten minutes max to spend some time on standardized test prep and recognize that if your goal is truly to maximize scores... then the vast majority of your instructional time should be spent on improving actual reading skills because you actually can't meaningfully game these tests by "practicing main idea questions" (timothy shanahan addresses this briefly near the top of this post). so i find it very difficult to believe that any school that pivoted to multiple choice drill time in an attempt to boost reading scores was teaching reading effectively pre-NCLB, because no set of competent literacy professionals would think that would work even for the goal of raising test scores. third, NCLB mandated yearly testing in grades 3-8 but only one test year in high school; kansas set its reading and math test year in high school as tenth grade. so theoretically these kids all had two years of sweet sweet freedom from NCLB in which their teachers could have done whatever the fuck they wanted to teach these kids to actually read. the fact that they didn't suggests perhaps there were other problems afoot. fourth, and maybe most saliently for this particular study, the sample text was the first seven paragraphs of a novel - in other words, the exact kind of short incomplete text that NCLB allegedly demanded excessive time spent on. i'm not really sure what universe it makes sense in that students who can't read the first seven paragraphs of a novel would have become much better reader if everything else had been the same but they had been making completely wack associations based on nonsense guesses for all 300 pages instead. (if you read the study it's really clear that for problematic readers, things go off the rails immediately, in a way that a good program targeted at teaching mastery of text of 500 words or less would have done something about.)

all but 3 of the students reported A's and B's in their english classes and, again, 69% of them are juniors and seniors, so like... i mean idk kudos to these professors for being like "hold up can these kids actually read?" but clearly something is wack at the college level too [in 2015] if you can make your way through nearly an entire english major without being able to read the first seven paragraphs of a dickens novel. (once again i really do encourage you to look at the qualitative samples in the study, lest you think i am being uncharitable by summarizing understandable misunderstandings or areas of confusion that may resolve themselves with further exposure to the text as "can't read.") not to mention the fact that most students could not what they had learned in previous or current english classes and when asked to name british and american authors and/or works of the nineteenth century, roughly half the sample at each college could name at most one.

the authors of the study are struck by the fact that students who cannot parse the first 3 sentences of bleak house feel very confident about their ability to read the entire novel, and discover that this seeming disconnect is resolved by the fact that these students seem to conceptualize "reading" as "skimming and then reading sparknotes." i think it's really tempting to Kids These Days this phenomenon (although again these are people who in some cases have now been in the workforce for a decade) and categorize it as laziness or a lack of effort, but i think that there is, as i described above, a real and sincere confusion over what "reading" is in which this makes a certain logical sense because it's not like they have some store of actual reading experiences to compare it to. i also think it's pretty obvious looking at just how wildly severed from actual textual comprehension their readings are that these are not - or at least not entirely - students who could just work harder and master the entirety of bleak house all on their own. like i don't think you get from "charles dickens is describing a bunch of dinosaur bones actually walking the streets of london" to comfortably reading nineteenth century literature by just trying harder. i really just don't (and i say that acknowledging i personally have had students who like... were good readers if i was forcing them to work at it constantly... but i have also had students, including ones getting ready to enter college, who were clearly giving me everything they had and what they had was at the present moment insufficient). i think that speaks to a missing skillset that they don't know are missing, because they don't have any other experience of "reading" to compare it to.

just wanna highlight again that although they don't give the breakdown some of these students are not just english majors but english education majors a.k.a. the high school english teachers of tomorrow. some of them may be teaching high school english right now, in case anyone wishes to consider whether "maybe some high school english teachers can't read the first seven paragraphs of bleak house?" should be kept in mind when we discuss present-day educational ills.

[j-esbian]

it is a bit sad to see how many usamericans have internalized the idea that we’re all the same and have no culture or accent diversity aside from “generic american” (manufactured for cable news) “southern” (incredibly diverse btw) and “new yorker”

turn off the tv and go outside

[trialsandtribble-ations]

The character arc lore could have had

[peapod20001]

I’m the type that can and will cry if think too hard <3

[danadiadea]

"Petty school grudge" is not even fun to discuss anymore (just forgive your SAers and bullies, guys! just get over your PTSD like... stop processing your taumatic experiences in a way that isn't perfectly convenient for everyone around, idk. if you are triggered – have you tried not being triggered?), but I LOVE when people paint James' death as a heroic one!

James Potter made Pettigrew a secret keeper out of his arrogance and sheer disrespect for his "friend", when he literally could've had Albus Dumbledore or just be the keeper himself and sit at home. Did I say "sit at home"? Of course he sneaked to hang out with Sirius, while not only his and his family's lives were in danger, but his wife also had an infant to take care of! So Dumbledore had to take the cloak so Jamie isn't running to his Siri. The cloak that could've hidden them from death. No escape routes or additional protection was installed in their house as well, so Lily blocked the door with A CHAIR instead of actually saving their lives. "Lily, run, I'll hold him off"? Where is she supposed to run, you moron? And the time Voldemort needs to cast an Avada on a wandless man is not really enough to "hold him off", yk. Even Voldy found it funny.

Dying because of your own pomposity when your killer literally came to your house and you don't have a choice to save yourself (the one Lily had, cause at least someone was willing to ACT on her behalf) is not heroic in any way at all. And no, being "pro muggle born" when you grew up in the "pro muggle born" family is not his achievement. James had EVERYTHING to be a good person, but was a bully so full of himself it became the reason Peter had the opportunity to betray him in the first płace. Peter, who always "sticked to the biggest bullies" according to Sirius, chosen as a keeper because he wasn't important enough to interest Voldemort. What a hero James was.

I cannot believe people let Snape get the high ground.

How do people casually overlook the fact that Snape spent six entire years of his life telling a kid—who never even got the chance to know his father—that said father was an arrogant douchebag? Like, how do people think that behavior is normal?

Snape, a grown man, spent years trying to convince a grieving, orphaned child that his dead father—who literally died protecting his family—was a terrible person. No compassion for a man who gave his life for his wife and son. No sympathy for a kid who grew up abused, unloved, and completely alone, only learning about his parents through stories told by others.

Instead, Snape chose to rehash his teenage rivalry with James Potter by bullying his son. Imagine being so petty that you can’t move past your high school grudges, even when the other person has been dead for over a decade.

Even the coldest, most detached person would muster some respect for a man who died fighting for good. But Snape? No. He chose to sit on his high horse—ignoring the fact that he was once a Death Eater who only changed sides when his own personal interests were threatened—and still had the audacity to act morally superior to James.

James Potter died a hero. Snape, on the other hand, spent his life tormenting the child of the woman he claimed to love—while refusing to let go of a teenage rivalry and weaponizing it against a traumatized, grieving boy.

I cannot get over how utterly selfish and cruel that is. Snape had no empathy for the dead and no sympathy for the living. And people still try to defend him? Seriously?

[whoreforsexymen]

The VIP Booth | Vander Smut Oneshot 🫗🤎

(Gif creds: me <3)

Pairings: Husband!Vander x Wife!Reader

Pronouns: Fem!Pronouns

Rating: NSFW, 18+, MDNI !! You WILL be blocked! 🤺

Word Count: 3.1k (whoops. got carried away with storybuilding)

Tags: Cunnilingus, Fingering, Face Fucking, Finger Sucking, Hair Pulling, Semi-Public Sexual Acts, Established Relationship, etc.

Summary: You coax your husband into eating you out in the only private area The Last Drop has to offer.

Notes: AAAA!! Idk if this idea is ANY GOOD but it came to me in a moment of delusion. The last bit was probably a little rushed, too. SORRYYYY. I’ll make it up to yall later.

Also, tell me I’m wrong when I say that Vander will go to any length to eat some pussy. Do it, cowards. I dare you. YOU KNOW JUST AS WELL AS I DO THAT THIS MAN WOULD HAPPILY DIE WITH HIS FACE IN BETWEEN A PAIR OF THIGHS.

Asks/Request fics are coming soon, as well as a few more special treats for y’all!! Enjoy, my lovelies, & stay tuned. 🤍

(I can see you, minors!! Get outta here 🤺🤺. BACK! BACK, I SAY!)

Inside the walls of The Last Drop, there was one booth unlike any other—a private, exclusive spot tucked away behind the bustling central room. It was a booth reserved for those willing to pay for top-tier service, offering a secluded escape from the usual chaos of the bar’s environment. But as co-owner of The Last Drop—and wife to the main owner—you didn’t need to fork out any cash to reserve it. Especially not on a night like this. No—tonight, luck was on your side. The booth had gone unclaimed by any paying customer.

Truthfully, the undeniably significant feature were its curtains. The enormous maroon tapestries that enveloped the entrance ensured complete privacy, shielding it from prying eyes. After all, that’s what made it the VIP booth—an oasis of solitude amidst the drunken chaos of the crowd.

With the booth left unreserved, its privacy ensuring a rare moment of seclusion, and the crowd blissfully distracted by their own drunken revelry, the opportunity was simply too perfect to pass up. You had concocted a devilish plan—one that had been simmering in your mind all night. It wasn’t just about messing with your husband—it was about messing around with him.

Your overwhelming desire for your husband was impossible to ignore on any given day, but tonight, it seemed even more intense—an insatiable hunger that gnawed at you, its cause elusive and beyond your comprehension. Whatever the reason, it gripped you with a force you couldn't obstruct, leaving you restless and consumed by pure unadulterated lust.

This, naturally, allowed your plan to unfold effortlessly, as if guided by an invisible hand, bringing it closer to fruition.

To carry out your devious plan, you had carefully cultivated the trust of one of the few individuals who worked for you and Vander. They weren’t exactly employees in the traditional sense, but rather a handful of people you kept on the fringes, offering a few coins in exchange for their occasional assistance. Their loyalty was fleeting, bought with small tokens, but it was enough to serve your purpose. Especially in a moment such as this. A seemingly crucial one—at that.

You kept things vague, framing your request as though it were purely concerning a business discussion needing to be had. You asked your employee to discreetly inform your husband that someone was calling him from behind the velvet curtains of the VIP booth. You also made it clear that the employee should mirror your discretion, avoiding any mention of your name or your connection to him.

The employee appeared curious, even somewhat uneasy, at first. That was, however, prior to you slipping a generous cash bonus their way, eliciting their cooperation without room for protest.

"Go on, please," you plead with your unsuspecting employee, your voice laced with a blend of urgency and excitement. "But remember—don’t tell him it’s me."

As the employee slips into the bustling crowd, you struggle to contain the surge of excitement building within you, all while fighting to maintain a sultry—yet composed, demeanor. You adjust your hair, breasts, and clothing, making subtle moves to enhance your allure and mystery. Every gesture is deliberate, designed to keep you as collected and captivating as possible, cultivating an air of intrigue about you as you desperately await the arrival of your beloved husband.

They fulfilled your agreement as you waited—approaching their boss and informing him that someone had entered the VIP booth, insisting on speaking with him directly.

"VIP booth? Thought nobody booked it tonight," Vander remarks, raising an eyebrow and crossing his arms over his chest as he takes a moment to process the information. Normally, you were the one who handled the VIP booth, and he’d have gladly passed this task off to you—if the employee hadn’t mentioned that the VIP “customer” specifically requested Vander. Looks like he’d have to put on a more hospitable facade and give them what they wanted.

If only he knew just what this "customer" truly wanted from him.

After a series of grunts, groans, and huffs, Vander finally made his way to the booth. After forcing a welcoming smile onto his face, he slowly pushed aside the curtains.

"Sorry for the wait. You wanted to speak to the owner—"

His voice faltered, trailing off faster than it had taken him to summon the words.

You feel your own response threaten to catch in your throat, but you won’t cave. You abandon your nerves.

"Why yes, I did. Although..." you drawl, your tone laced with playful mischief, "...'speak' isn’t exactly at the top of the list of things I want to do to the owner."

Your sultry gaze locks onto his, deliciously teasing. Vander, already an imposing figure, looms even larger from your vantage point in the booth. Seated as you are, you find yourself craning your neck significantly just to meet his eyes, the angle only amplifying his commanding presence.

A slew of unidentifiable emotions cross his face in a mere flash before fading into a singularly—equally mischievous to yours—-expression.

“Well. Seein’ as how you are the VIP patron of the night, how can I oblige you?” He queries, his eyebrow raising once more.

Your heart stutters beneath your breast as his expression shifts, his eyes darkening with a lust-filled intensity that sends a shiver through you. The chemistry between you two never failing to baffle you.

"...Serve me," you murmur, your voice soft yet determined to keep the air thick with seduction.

"And what, if I may be so bold to ask, can I serve you with?" he inquires, his voice dipping low, the provocative edge in his gaze unwavering.

"Your body." you quip, your voice steady despite the flutter of nerves stirring in your gut, desperate to make it quiver.

Vander eyes you carefully for a moment, savoring the way your confidence wavers. He deliberately toys with the knowledge of how easily he can unsettle you, his gaze lingering as if relishing every flicker of hesitation you try to hide. A smirk slowly spreads across his mouth—the very one you ached for—his eyes glinting with an all-knowing, deviously sexy twinge. He nods softly, his hand rising to casually caress his beard as he watches you, the tension thick in the air.

“Mmhmm. I see," he murmurs, his tone laced with teasing amusement. "Who am I, if not a man willing to care for his loyal customers?" He phrases simply, the words carrying a heavy, unspoken promise before he moves, gracefully lowering himself to his knees across from you. There’s a moment of silence, the air thick with anticipation, before he slowly begins to push himself beneath the table that had kept you both apart.

You don’t dare look beneath the table, almost afraid to meet his gaze at this moment, unsure of what you might see on his face now that the situation has shifted. The tension coils tighter, each passing second amplifying the anticipation that overwhelmed your senses.

You practically jump at the brush of his shoulders against your shins as he crawls to them, the rush of anticipation making every nerve in your body jolt. The aching desperation pulling through you draws attention to your core as you feel his strong hands gently caress your legs, the heat of his touch settling on your knees, sending a shiver through you. The way your teeth begin to tug at your bottom lip seemed like the only way you could physically process your eagerness.

Vander remains silent, his hands moving deliberately in opposite directions, the gesture designed to spread your legs—yet he did so with enough force to split you down the middle if he hadn’t been careful enough. It isn’t until he successfully parts them that he speaks again.

“No bottoms? My. What a dirty girl you are, my dear customer. What if someone else had walked in here, hmm? Did you plan on flashing your bits to any bloke who popped his head in?” He teases, practically groaning some of his words, the guttural tone an unintentional yet instinctual reaction to the sight of you so bare—-so clearly prepared for whatever scenario it was you anticipated happening in this little corner of the establishment.

It was obvious to your husband, from the way you were reacting, that the possibility of him crawling under the table to bury his face between your thighs hadn’t even crossed your mind. The surprise and hesitation in your twitches and subtle movements told him everything he needed to know.

The distant, familiar chatter of real customers beyond the thin barrier tightened the knot in your stomach, throwing you into the reality of the moment. It became an unrelenting presence, grounding you in the tension that hung in the air. Meanwhile, the hot, damp breath of your husband seethed against the cold slickness seeping from your cunt, a stark contrast that deepened the unease coursing through you.

A shiver ran up your spine, your body trembling as nervous spasms raked through your bones when he edged even closer—his hair grazing your skin in that familiar way you knew so well. It wasn’t uncommon for your husband to spend most of his time down here, yet no matter how often it happened, the anxiety it stirred within you never waned.

You had an even harder time controlling how your body writhed as you felt the warmth of his tongue flush itself against your sopping heat. Your nails pressed into the soft wood of the table, digging in as you braced yourself, your body jerking. The spasms faltered for a moment, your body going rigid once he started violently lapping his tongue against your aching clit. The abrasing way his beard rubbed against the skin of your thighs sent you into a spiral.

You had expected him to fuck you directly on the table, to take you in the way you were used to—but instead, he toyed with you from beneath it, the unanticipated choice leaving you bewildered. You had been aching for what felt like ages, the desperation almost unbearable. It was a struggle to keep your mouth from parting—your head tilting back, eyes closing as your husband began to ease the tension that had gripped you for so long.

All you wanted was to whimper, to cry out for him, but you couldn’t—not with the patrons so close, just beyond the curtains. If he had only fucked you as you’d expected, he would’ve easily pressed a hand over your mouth to keep you quiet, as he had in similar situations before. But this time, you knew he had chosen this path deliberately, testing whether you could hold your composure.

It was his unspoken way of making you atone for the ploy you used to get him here. He was a patient lover, understanding that even though you had pulled him away from his work—which he didn’t mind as much as he let on—you were just too eager to be patient. Always attuned to your needs, he was more than willing to satisfy the cravings of his most cherished wife, finding joy in fulfilling your desires—no matter the time or place. The absence of his familiar presence behind the bar, and the slight potential for upsetting customers, felt like a small price to pay in exchange for the chance to fully indulge in you. To unravel and claim you in ways only he could.

His tongue was relentless. He sloppily sucked and licked at your needy clit, his nose rubbing against the mound of flesh above as he devoured you. His hands were as equally hungry as his mouth, and in need of something to grab. He manhandles your legs, draping them roughly over his shoulders, his fingers gripping at your plush thighs as he curls his arms around them. In doing so, he pulled you closer, your back slipping against the booth as he guided you down, drawing you nearer to him with a purposeful force. His cock was begging to be set free from its cloth prison as he sunk his tongue deep into the void of your cunt. The rhythmic, wet sounds became a melody more captivating than any song he'd ever heard, especially when paired with the soft mewls of you struggling to stay collected—and most importantly—silent.

You can both hear and feel his laugh against you, a deep, low chuckle that carries a mix of arousal and amusement, vibrating through you with every huff. He found the way he could make you squirm incredibly sexy, the reaction sparking a deep sense of pride within him. There was something about the ease with which he could unsettle you that thrilled him, and he took great satisfaction in knowing how little effort it took. He knew all too well that it only took something as simple as a certain look to have you coming undone—and right now, he was determined to make you come undone. All over his tongue.

Vander knows just how wild his fingers can make you on their own— yet especially so when paired with the mastery of his expertly quick and thoughtful tongue.

He wasted no time in combining the two, intent on making you crack under the pressure. While Vander didn’t particularly want to be caught by patrons, either—or, for that matter, by one of your employees—his desire to make you scream was always his top priority.

He grips your thighs with more gusto than before, continuing to pull them further apart in hopes of expanding his ‘workspace’. He releases one of them, the fingers of that hand moving to replace the tongue that was working its familiar magic inside you. He doesn’t give you so much as a single moment to collect your thoughts as he makes the exchange, effortlessly ramming and curling two up into your cunt as his tongue continues its prior attack on your clit.

You swore you were seeing stars behind your eyelids, your grip on the table faltering just like your efforts to stay in control. You couldn't even attempt to cover your mouth, not with the relentless—yet unintentional—way your hands found their way under the table, tangling in his hair and gripping with enough force to pull some strands loose.

You greedily buck your hips down to meet the thrusting of his digits, pulling his head as far into your cunt as possible. He doesn’t complain. He never would. Maybe it was his own type of preferred masochism, but he’d consider suffocating and perishing in between your legs in this way, a noble death.

Your toes ache from the force with which you’re curling them, your legs clutching and winding around his shoulders and neck like a python.

By now, you had abandoned all caution, hope, and effort to moan quietly. You were practically screaming over the deliciously knowing way he prodded his thick fingers into your cunt. He had long forgotten to move them in and out. He knew exactly what spot drove you mad, and he made his most conscious effort to curl them into it as rapidly and frequently as possible.

As much as Vander adored your cries, they were truly becoming far too loud. He really didn’t want any curious folks to come wandering in to spoil the moment when you were so close to your inevitable peak. He has no choice but to silence you. With the hand that remained on your other thigh, he removed it from its resting place, reaching up from beneath the table as he gazes up at you. With a smirk against your cunt, and his eyes studying how your head was still thrown back against the booth, eyes shut tighter than a steel trap—-he shoves two of his free fingers into your mouth. Your eyes shoot open. You look down at him, earning a wink from your husband as he smirks harder against your cunt. The eye contact was filthy, in the most erotic way possible. It always made you feel slightly awkward, in an oddly arousing way, when you made such a type of contact with him in the heat of a moment like this.

You willingly sucked on his fingers, now understanding the purpose for his actions after a thoughtful moment. He groans against your cunt, luckily the sound being muffled by how much his mouth was buried into it. Your tongue swirls itself rapaciously around the digits, drool falling from your mouth as you did so. Vander simply can’t tear his eyes away from such a sight. He groans more as you lower your own gaze, your expression deadly with seduction. He was almost pissy that both of his hands were occupied at the moment. He was anxious to palm at his cock, desperate to find friction of his own now.

His tongue and lips were still working their relentless job on your clit, suckling every few seconds amidst the slurping. The way his facial hair brushes against it every now and then almost sends you into hysterics—bordering on a full blown frenzy.

Your legs are quaking, twitching and spasming with every harsh lick to your clit. It was so sensitive, you couldn’t help how it shocked your nerves, causing them all to fire simultaneously. Electricity burned in your veins, desperate to chase your orgasm as it made your hips flick against his mouth faster than he could lap at you.

Your orgasm burrowed itself into the pit of your stomach, commanding you to follow it down to your cunt.

It didn’t take much longer for you to keel over the edge of your impending climax. It burst through you, your legs clamping shut around his face—a move which Vander was used to by now—-hips mindlessly gyrating against his face as you brutally cum around his fingers. Vander can feel your walls clenching and relaxing back to back with each additional thrust he gave, your voice begging to slip past his fingers as you come undone. He thought you had been dripping wet at the start of this—but he had been sorely mistaken. Your arousal was seeping out of you despite his fingers plugging you up.

“Attagirl..” He whispers against you, giving your clit a few final licks before reluctantly pulling away. The grip on his hair finally loosened as your body went almost completely limp. Your breathing came in rapid, shallow gasps, just as desperate as Vander, himself, now was. His cock was so hard, it felt like it was being choked by his trousers. But he had the patience of a saint. He could wait as long as needed for you to collect yourself once again.

“So, was the service to your liking?” he asks, his tone teasing—and entirely rhetorical—as he wipes his mouth with the back of his hand. The fingers that had been in your mouth slide free as he takes a moment to compose himself.

“I’ll take that as a yes,” he chuckles, clearly amused by how speechless you’ve become.

“Just don’t forget to tip your server..” He teases, alluding to the painfully obvious fact, that this situation is far from over.

[unbidden-yidden-deactivated20240]

In general, I think it's currently really important for progressive Christians to be very loud about being both progressive and deeply religious Christians, and for everyone else fighting for progressive values to be supportive of them doing just that. I know that's like, idk, counter-intuitive or cringe or whatever, but seriously folks, the alternative is that progressive Christians have to be quiet about their faith to be accepted within broader secular and interfaith progressive advocacy, which means that the regressive asshole Christians (a) sound that much louder and (b) dominate the USian religious landscape all the more. That's a problem, for all of us.

We need people pushing back within the faith as well as outside of it, because that destroys any edifice that this is about Christianity and religious freedom.

You can be a devout Christian and also:

Openly, proudly, and without being forced to remain celibate or otherwise limit your full expression of self, identify as LGBTQ+ or be a supportive ally.

Advocate for full reproductive autonomy and comprehensive sex education.

Love and support people of other religious groups, non-religious people and/or atheists, by choosing to believe that a truly loving God would not pursue anything less than universal salvation.

Stand against evangelism and proselytizing as they have thus far been interpreted and used, because there are ways to interpret the Great Commission that don't promote colonialism and cultural genocide.

A steward of the earth, protecting God's beautiful creation and lovingly tending to it as the unique and incredible gift that it is.

A believer in science, rationalism, and human progress as part of God's divine plan for humanity.

A believer in history and someone who understands that the Bible can be both divinely given and open to interpretation (no really)(if you're confused, please talk to a knowledgeable traditional Jew)

An ally to Jews, who stands against supercessionism and antisemitism in the church.

And in before regressive Christians come shouting at me that (1) what do I know, I'm a Jew and (2) no lol you can't because of ___ reason:

My source is that I've personally met and talked to Christians of great faith and integrity - people who embody the closest forms of kindness I've seen to what Jesus himself advocated - who are each of these things.

It is 100% possible; you just choose to believe otherwise.

[goomyloid]

Can you tell me about your dt player. Since from the way you portray them they aren’t meant to be you. Kinda your oc in a way huh. It’s a cool depiction so that’s why I’m curious.

well today is your lucky day because i literally just filled out this chart right before answering this:

basically my version of them is thoroughly mentally disconnected from all consequences, because everything is just a game to them.

apathetic with only the desire to see what happens, and what becomes of kris and noelle (in the weird route). They always just barely have the upper hand; if things don't proceed down a certain path (i.e. aborted weird route or something) it's only because they allowed for it to happen. kris is very smart, but 'our' knowledge just objectively surpasses theirs in every way. for the most part.

i guess if i had to describe them as a real-life player, it would be the kind of person that plays all the routes without feeling bad about it, someone that somehow doesnt feel as though they're entirely to blame for the story going this way. (they taunt kris over this, maybe just to pick at their brain to get a look of how they're feeling about all of this.)

after all, deltarune is a game. it's meant to be played, it's only natural that people will want to pick it apart inside and out with its level of popularity. nothing should make a player feel bad about playing the game that they bought and spent time on.

regardless of one's investment in the characters, the world is simply not real to us. but in terms of vessel specifically talking to kris or something, it's not like THEY'RE the one saying "kris you're not real lol" or anything like that, it's more so their existence as a 'watcher' of sorts outside the bounds of comprehensible reality renders them in a similar position as us, someone in control and free from any consequences (presumably), letting kris and co. take the brunt of all your wrongdoings.

there's all of that, but i also like to portray them as being more on the extreme side, going as far as to treat characters fictional even when said character is standing right in front of them.

the 'commodification' of noelle plays into this a lot i think. we haven't seen it much in game so far, but we get the implied player attachment to her via treating kris as a self-insert of sorts just so you can get weirdly, creepily close to and controlling over noelle. it comes off more as vessel only wanting to be close to noelle and kind of discarding kris, just like they once were (lol).

the player's funny little fixation on noelle definitely throws a wrench in things kris-and-noelle-relationship wise, because this Thing is masquerading as kris, and noelle (and maybe toriel to a degree) is the only person able to tell something's wrong. it's almost like Hikaru Ga Shinda Natsu in a way -- your friend has been replaced, and you're the only person to notice just because you know them so well. it comes down to noelle's heart and ability to see through whatever vessel throws at her, if she'll be able to reach her hand out and save kris from sinking away before it's too late.

ummm. im getting off track. got too krisellepilled for a sec. VESSEL. i'm definitely not immune to portraying them more lightheartedly sometimes, but when I do that, it's usually in game, more so showing up as the soul instead lol

they're still sarcastic and blunt and weird, but at least they're not crazy destructive and sociopathic. gotta tone it down for the sillies

anyway i think thats all i can think of to say at the moment, if i think of something else big i might add it in a reblog, idk lol. thank you for asking, sorry about the long post!

[singleactionjack]

Mh wilds spoilers

I'm genuinely surprised how frequent it seems people are misrepresenting Nata's character arc and saying that they don't like him, every time it feels like they're actively leaving something out. I don't know if it's a lack of critical thinking or failure of narrative comprehension but idk

Like, it's not the most well written dialog but I think the kid has a pretty fleshed out set of motivations, his arc makes sense and none of it felt rushed to me.

Like, kid is in an isolated secret civilization, he doesn't know shit, he seems almost too innocent to be informed of anything. The most he seems to know is that monsters are dangerous, which seems very informed by his experiences in the intro. He doesn't know shit, his village is attacked by a terrifying creature he doesn't know much about, and his elder pushes him out of the village to "find help". His only community being presumably destroyed, everyone he cares about presumed dead, as a kid seemingly no older than 12 or something.

He gets picked up by hunters from the West or whatever, and they start an expedition to the forbidden lands because this kid is the first proof that there is /any/ civilization out there, and this traumatized child is having to be a part of this expedition because he's the only one alive they know who has any knowledge of the land. But the fucked up part is, he doesn't really know the land.

He spent the last few days (?) running scared out of his mind, luckily avoiding anything too particularly dangerous, across lands so large and dense the player needs a super fast dinosaur to navigate. The kid doesn't know much of anything about the land, only hoping he recognizes enough of the way out to see the way back home.

So you have a kid who's scared shitless, having to help an expedition to his home that /no one else/ knows about, through lands he doesn't know anything about, with the implicit expectation that his entire people are dead at the hands of a creature that still lingers in his nightmares. The glimpses of the brutality of Arkveld still plastered in his mind. And it seems until he travels with Alma and the player, this brutality has no context.

As he follows along with the party, he starts to see reasons for the behavior of monsters (which is probably subtly indicating that his home isn't a place where regular monsters live) He sees an ecosystem thriving, a cycle of life and death, things doing things to survive. This further stokes the growing hatred he has, survivors guilt and thinking he's the last survivor of Arkveld. He thinks his people are probably gone, and he can't see any reason why a creature would do that. Narratively, Arkveld isn't a Monster™️, but a Monster, who does things out of maliciousness, cruelty, with no rhyme or reason.

Later, Nata and friends actually spot his White Wraith, attacking the Apexes, draining power from Rey Dau. In this part of the story, this "Villain Arkveld" conceptualization is firm in his mind, a target of revenge for his fallen kin. He is too weak to enact any meaningful revenge, just wishing to stop Arkveld from hurting anyone else in the way his people were hurt. The Hunters he's with prevent him from doing anything reckless, but he's fully in the fuck Arkveld club.

All the while, he's still a child. Optimistic, still has hope. They're able to actually find his home, in Sild, and he (despite really thinking everyone would be dead) still calls out for Tasheen. He hopes that someone else survived the horrors he was saved from. And lo and behold, Tasheen lives, among many others. His people weren't wiped out, many did survive. Tasheen then does something that changes Nata's path directly.

Tasheen tells Nata about his people and their actual purpose/role as the ones who reside and look over this land filled with guardians, artificial monster shaped constructs who only exist to be tools for a civilization that no longer exists. And that the "White Wraith" was simply one of these creations who was behaving erratically, unable to be controlled.

Tasheen specifically does this reveal in combination with celebrating Nata for successfully escaping and getting help as something they were not supposed to be able to do. The people in Sild weren't supposed to be able to leave really, bound by duty and second hand shame from a civilization that no longer exists, but Nata was freed from that cycle of imprisonment.

In doing all this, Tasheen gives purpose for Arkveld AND Nata. No longer just a child, he was supposed to be one of these protectors. Arkveld, no longer a creature without direction, but a guardian who is acting strangely.

This information is given to him with the explicit understanding that Nata's purpose (as ascribed to him) isn't set in stone, and by him leaving and finding help he has already been given agency to be his own person and make choices his people could/would not. In this part of the narrative, the vengeance seeking Nata is largely replaced with concerned curiosity. He knows /what/ Arkveld is, but not why it's doing what it's doing.

They eventually discover a reason why. Arkveld, seemingly too powerful a construct, is attempting to revert to it's original status as the wyvern it was before extinction. Trying to engage in the behaviors it knows it should do, either from instincts or seeing other monsters in the wild. Predation, subsistence. Arkveld, as an extinct predator reinvented, has all the tools to hunt but not all the tools to survive, leading to it seemingly rampaging in acts of violence as it attempts to overcorrect by eating and hunting despite not needing to.

When Nata understands this, his perspective on Arkveld is informed and he becomes very sympathetic to it. It isn't the monster he was lead to believe. It's a creature who's agency was taken from it, that found freedom and sought to behave in a way it felt right over what it was predestined to do. In a very literal sense, Arkveld and Nata /ARE/ the same. Both are children of the ancient civilization, given purpose by people who no longer exist. They are both given opportunity to understand the outside world, and in doing so are given chances to make choices for themselves. If Nata decided to stay in Sild once he knew people were safe, this wouldn't be the case. He was given opportunity to do more and see more and he took it because his horizons were broadened. By Arkveld's attack both of them were unchained by fate.

Nata at this point starts to truly empathize with Arkveld for two reasons: one being the stuff listed above, but also his learned understanding of the ecosystem. Arkveld is just doing what any other monsters are doing. He's seen several environments where the monsters fight and struggle for survival. Arkveld is textually (for Nata) really "just like him frfr". Steeped in wylk, finally able to see the sun, able to eat the cheese (animal flesh) and be their own person.

When it is deemed Arkveld has overcorrected and is too dangerous for the ecosystem, Nata objects, but he does so purely from empathy. Before Arkveld had no purpose in its cruelty, now its cruelty is somewhat overstated and its purpose is no different from anything else. Why must it die for doing what everything else does? Why must it die when it was finally free?(Like Nata himself has come to recognize in himself)

It's very straightforward honestly. None of his arc feels rushed, he is a scared and traumatized boy who is then given new information and hope, and that hope informs his empathy. It's like if a kid grew up in a cult and his whole family got attacked by a knife guy ™️, they escape into the outside world to find out that Knife Guy was actually kidnapped and kept in his cult family basement. Knife Guy only did what they did to escape but now they're too maladjusted to society to not be knife guy other places. I'd probably feel bad for Knife Guy ™️ too if I was the kid who escaped.

[vtomleni]

I feel really bad for girl Jeri. Call me low on reading comprehension/media literacy or whatever, but like. If she got pregnant young (maybe even teenager) and was hiding it, she wouldn't go for any medical help, nor would boy Jerry... which means that she gave birth without any anesthesia and medical help!! It must've been fucking awful, horrid, painful and overall traumatising experience.

Also, like, the way she starts to sob whether sex and pregnancy mentioned, the way she screams "Stephanie! No!!" when Steph and Pete about to have sex. She warns Steph, not Steph and Pete, she specifically tries to stop the girl from having sex. The way she says "Teen pregnancy is not a joke! [...] You're gonna end up with the child before you're ready! You will have to dropout of school! Your parents will disown you!" and looks dead serious, sad, and...idk worried, rueful, remorseful. And, i think, the most obvious one, "where you will raise the child? In the woods?!" She's clearly projecting onto Steph. Jeri associating sex with pregnancy and pregnancy with da baby and it's murders. It's a chain of associations and literally almost every link is traumatizing to her. She feels responsible for her son's murders (because she does enable him), she is the one to try calling into police, she is the one who doesn't want to lie to child's parents, and she has to be coerced, lied and threatened into cooperation by boy Jerry. She, not surprisingly, got sexual trauma from these events, she even responds to sexual advances of a guy that blackmailing her and degrading her! I'm not saying that ppl cannot have these kind of kinks without trauma, but it's not talked-about-before-consensual kink here, she's stunned and overwhelmed by discovering bodies, feeling guilty for hiding bodies, feeling horny and feeling guilty and ashamed for feeling horny to truly process and being able to consent to things.

By the way, the fact that boy Jerry doesn't give shit about her also makes me feel bad for her. Like, he very clearly projecting and tells his own thoughts and feelings when "scolding" Pete, so that means that he feels jealous over, and is sexually attracted to Jeri, but looking at Jerry's actions he doesn't respect or trust Jeri, he threatens and blackmails her, he constantly takes control of the situation and assumes that she will obey him, simply put - he's awful to her. And something i noticed when listening to "Hatchet town" from Npmd on repeat is that there's line when citizens accuse boy Jerry and he LITERALLY says "no! it's girl Jeri! that dirty girl!" and like, that could be written in just for a joke but in character it would render boy Jerry as a fucking traitor and a coward. Not too surprising considering all that he does in abstinence camp, but goddammit, he's despicable.

Like, I'm not saying that what she done is okay or morality right, but i empathise with her, like she literally GAVE BIRTH IN THE GODDAMN WOODS.

[vinnybox]

l

Helloooo! I love how you draw your Maxwells and Wilsons!!! I would like to ask, what's ur general guide to drawing them? (In terms of face features, face shape, hair etc) Have a nice day!!

Hi anon :) Thank you so much! Im glad you like how I've drawn these two! That's a good question actually!

I have a few things in mind while drawing them so I'll do my best to explain them. I'll also include the full sketch pages and timelapse of me breaking down how I draw them.

This is about to get REALLY lengthy

WILSON

I simply his nose to scalene triangle (slightly pointed down). I think he'd most likely have an aquiline nose. I tend to just draw it in one stroke tho so sometimes his nose looks a bit different but the idea is there.

Wilson's face is like an upside down teardrop to me so the lower part of his face is narrower (?).

Hair is sectioned into 3 main parts. Top, Middle, Bottom. I keep them in their "general area" with some part overlapping into the other section's area. If that makes any sense SHDSHD

Widow's peak hairline and temple peak (correct me if I'm wrong- English isn't my first language)

Tired eyes. Lines under the eyes? The shape vary a lot when I draw, so it really depends on how stylized you wanna be or if you wanna go for something more realistic.

MAXWELL

Hooked nose. Simplified into a slanted rectangle shape (?)

Wrinkles! Give him wrinkles near his nose and corner of his lips! Also forehead!

Eyebrows miiight be steep arched?? idk I just do whatever this is vvv

Lips consist of "M" part at the top and a trapezoid shape for the bottom.

He got that receding hairline rizz

Shape of the hair follows head. I like to simplify it into a blocky shape.

SKETCH PAGES

Im not sure how comprehensible this is but I appreciate your curiosity!

My thought process literally boils down to "How fast can I make this?" So I am not the most consistent with how I draw a lot of things.

AGAIN!! This is how I do it and everyone is going to have a different interpretation of the characters and how they are drawn. Just have fun with it :D

[visenyaism]

hi visenyaism, sorry i know this is mainly an asoiaf blog but I loved your literacy & kids in school analysis and i had a question. idk if you're familiar with the "male flight" from college substack article making the rounds on tumblr (tldr: the author takes the thesis of this sociological paper that men stopped enrolling in vet school once women enrollment hit 60% and suggests that it could explain why men's enrollment in college generally has fallen bc women's enrollment has now hit that 60% threshold & men, or well, straight men, want to avoid anything deemed too feminine) and I was wondering if you've also noticed that men / boys tend to devalue going to college and generally had any thoughts on this phenomenon?

Hm. Here’s the article if you haven’t read it:

I agree with her about a lot. I think a lot of it really is that we beat into young girls’ heads from the start that you need to work hard and become financially and professionally independent because of you don’t you will be dependent on and taking care of a man forever. But boys are way more likely to get the “don’t worry you will find someone to take care of you no matter what it is what you deserve” message. I have noticed a rise of this anti-college intellectualism particularly in young men that it is a scam and that even if you get a job, it’s gonna be like the beginning of fight club where it’s like super emasculating to do that because you’re following the system. 

I can tell you it’s a common phenomenon in high schools that honors classes are disproportionately female and standard level classes are disproportionately male. Some of it is just outperformance (which I think is the aforementioned messaging difference and also just because I think we hold young women to a higher standard academically and behaviorally and they react accordingly.) I have talked to male students who have insinuated that performing well in school is kind of girly because it’s like being submissive.

The messaging facing young men that going to college is overrated because that kind of 9-to-5 white collar job you’re supposed to get as a result is inherently kind of feminine or cuck or beta or whatever is common. Of the group of students not going to college after they graduate I think girls are in my experience more likely to have a plan like they’re joining the military or they’re going to trade school or they’re going to community college or taking a year off. Whereas boys Are more likely to have that mentality that they’re gonna become an influencer or a day trader or crypto whatever or a twitch streamer because that’s more alpha than following the system. I think a lot of our anti-intellectualism in society is a result of this messaging that going to college is now girly.

What I really hate is when people point at high levels of women enrolling in college as evidence that the system is rigged in favor of women which has never been true and is not true currently. I feel like “male flight” is not a complete answer, but it is definitely more comprehensive of an explanation than a lot of the other ones I’ve heard.

[oddygaul]

the REDLINE manifesto

In honor of my second DIY screening of Redline, here is, at long last, a prettied-up version of my most popular reddit post, an unabashed love letter to my favorite movie. Most of this is probably less groundbreaking than it was when I first posted it a decade(!) ago, but whatever, the internet needs more Redline content anyway.

REDLINE Trivia

–JP stands for Joshua Punkhead, and in the very first draft he had 26 children and raced to pay off his child support. Also, the catchy moniker ‘Sweet JP’? English-only… the original Japanese gets the mouthful ‘very sweet weaponless prince’.

–You'd be hard-pressed to tell without looking into the lore a bit, but Miki & Todoroki are damn near the only actual humans in the movie; everyone else is some species of alien. Some are obvious, like Shinkai (Oceanic/Chikulun hybrid) and Trava (Anista tribe), but even the most human-like characters are some other race. Sonoshee, for example, is listed as being half human, half Oceanic tribe (海洋族). 

The most curious case, though, is JP. While it'd be easy to assume he's human, there's a lot of details that don't add up: his unique elf ears, his super-lanky-even-for-a-Koike-character-design physique, the fact that his race is conspicuously redacted on his bail sheet… and his seeming immunity to death. Seriously, bro crashes every single thing he drives in the whole movie, then emerges unscathed with just a fiery flash of the eyes – that ain’t normal. If I had to wildly speculate, and I do, I’d put money that he’s somehow linked to Mikuru and the Giant species, as seen in Trava: Fist Planet. The physique matches, the Giants have displayed some preternatural healing abilities, and Trava lays the groundwork for a few other threads in Redline (namely, the existence of bioweapons and Shinkai & Trava’s past military experience), so there’s precedence. Maybe one day we’ll find out for sure…

–We all know and love Funky Boy thanks to the Roboworld president’s endless tirades. But the giant data-motivated crocodile monster Volton fuses with to engage Funky Boy in thrilling combat? She is a lady, and her name is Wire Girl.

–All of Redline’s vehicle and mechanical designs are nuts – they’re insanely complicated and filled with organic curves and details. Despite the immense difficulty of keeping such complex designs consistent, every mechanical shot is hand-drawn, without the aid of any CG. To help the animators stay on-target while drawing, the team made some sweet-ass production models for them to reference. What I wouldn’t give to own one of these…

–Before deciding on Redline being a film, writer Katsuhito Ishii and director Takeshi Koike considered making a TV series. Initial writers’ meetings saw the team fleshing out a comprehensive story bible about the setting: it included not only a wide-scope view of the universe and its history, but also detailed backstories for each racer. Even after deciding to make a feature film, Redline’s initial script gave each racer as much time and focus as the final cut gives to JP & Sonoshee; all of this was, unfortunately, cut for time. According to Ishii, though, much of this ancillary information made it into the novelization…

one day my Japanese will be good enough to read you ;_;

–Confused about why the movie ends with that sparkly, PowerPoint-ass ~LOVE~? Well, you shouldn’t be – Redline is ‘unabashedly dumb’, after all, per Ishii – but there is a little context. Over the course of the movie’s 7-year production, Koike and Yukiko (a producer on the film) fell in love, tying the knot in Switzerland just before Redline’s world premiere. If that doesn’t justify the ending for you, I don’t know what could.

–This isn't trivia but idk where else to put this stupid-ass Lynchman meme I made

Subtext you may have missed on first watch

–Machine Head is Sonoshee's estranged father?!

Crazy, I know, but hear me out. 

First of all, Redline unambiguously shows the viewer that Sonoshee and Machine Head have some sort of pre-existing relationship, the nature of which isn’t explicitly clarified. 

At the Oasis restaurant, Sonoshee tells JP she's waiting for someone; it may sound like she's simply brushing him off, but the moment Machine Head enters the scene, Sonoshee perks up and waves to him. When the Crab Sonoshee is flipped by missile fire during the Redline race, we get exactly two (2) Dramatic Anime Freezeframes: JP and Machine Head, implying those two, out of everyone, care the most about Sonoshee. During the final stretch of the race, as Machine Head prepares to pop his steamlight, he is not only aware that Sonoshee also has one, he taunts her about it:

“I see you still have your steamlight – got the guts to use it this time?”

JP even draws attention to the fact that Sonoshee’s looks identical to Tetsujin’s. Finally, though this is certainly ancillary, it is interesting to note that the exact moment Godwing loses its structural stability is right after JP declares he’s going to win because he, not Machine Head, has Sonoshee at his side.

So let’s line this up with what backstory we definitively know. As stated above, Sonoshee is a human / Oceanic hybrid; Machine Head, though his body has been modified beyond recognition, is referred to the same way. While talking to JP about the steamlight, Sonoshee says her father is the one that gave it to her, then describes him as a skilled racer who ran a junk joint. In that same conversation, when JP suggests she’s too focused on racing at the expense of personal relationships, she bristles and tries to end the conversation. During the flashback of young Sonoshee racing, her reaction to crashing is intense: she’s clearly holding herself to a higher standard, and is already dead set on racing in the Redline someday.

Now, there’s other plausible explanations for all this; maybe there’s just a romantic entanglement between Sonoshee and Machine Head, with JP barging in as the third vertex of a love triangle. But is that the most likely scenario for two people constantly characterized as putting racing before any personal matters?

No, I think Machine Head is Sonoshee’s father. 

Picture it: Machine Head raised Sonoshee at his junk joint, so she grew up around racing and car modification. After seeing success on the circuits, Machine Head stopped being content with mere victory, and started spending all his time and energy modifying his body, pushing himself farther and farther. Sonoshee, feeling neglected and cast aside, turned to racing, seeing it as the only way to get her father’s attention. This lead to her perfectionism complex; if she’s not the very best, why would the King of Kings ever look her way?

Anyway, while it’s not confirmed in the text, I think there’s so many hints it might as well be. It makes JP and Sonoshee’s romance a lot more interesting, too. Their arc isn’t just two people falling in love, it’s about Sonoshee moving past the trauma of her father’s emotional abandonment and opening up to someone new. After JP explains his match fixing history in the climax, Sonoshee isn’t placated because he told the truth, she’s fired up seeing the strength of JP and Frisbee’s friendship: she sees the folly of chasing approval from her absent father, and that she could instead be forming bonds with friends who support her unconditionally. She can race for herself.

Koike and Ishii said Redline is about adult friendships, after all!

pictured: the most romantic kiss in cinema history

–The Redline race is, in fact, underhanded political maneuvering

Now, this one is sorta just The Plot Of The Movie, but I feel like there’s so much going on in Redline people often don’t connect these dots. 

We all laugh at the Roboworld president’s hammy word salad:

“I wonder if this might be some kind of ploy by our enemies to infiltrate our borders. If that’s true, do you realize Roboworld’s military secrets could be at risk here? We’d be exposed!!”

…but he’s… kinda right, though?

At the time of the movie, the M3 Nebula has just emerged from two devastating interplanetary wars. The galaxy’s superpowers are under a tenuous peace agreement – one of the most important stipulations of which is a ban on the use and development of “bioweapons”, which in the Redline universe are less ‘weaponized bacterial strains’ and more ‘gargantuan synthetic monsters that can be deployed to wreak unthinkable destruction’. Despite this ban, the government of Roboworld has been continuing with bioweapon development unabated… and not only does Planet Supergrass seem to be aware of these violations, it really seems like they’re leveraging all their soft power to expose them.

Now, we know Supergrass is generally involved with the Redline final. As a member of the Redline Committee, they have a reason to be involved; they’re helping out with nuts & bolts logistical stuff, like transporting the racers to the course and prepping the finish line. But when you consider the significant, tangible political blows dealt to Roboworld by the race – Funky Boy and Wire Girl’s presumed destruction, Roboworld’s violation of the bioweapon treaty being broadly exposed to the public, the decimation of Roboworld’s military – the long string of coincidences that got us to that point start to seem a little suspicious.

Who pushed for the Redline final to be held on such a hostile planet? Who knew about Roboworld’s experimental orbital laser cannon – a project so tightly under wraps even their president only learns about it during the race – and hired contractors to sabotage it? Who organized a group of malcontents to attack both Roboworld’s power relay station and Funky Boy’s containment creche, right when such disruptions would be the most impactful? And who decided the race’s crucial middle stretch should go right over the restricted military zone housing said creche?

Supergrass has the motive and the means – plus, the race is already illegal, so what can Roboworld do, sue them about it? No sir, that Princess is on some subterfuge shit, and Secretary Titan, that shady fuck, is her inside man. And you can take that to the bank.

Craving more REDLINE?

Unfortunately, due to the movie’s commercial failure, there’s not much else in the franchise. The Redline production pilot is fucking sick, though, and there’s Trava: Fist Planet, an OVA by Koike & Ishii that predates Redline and focuses on Trava and Shinkai’s misadventures. While Trava never got the continuation it deserved, they did make a trailer for season 2... ahh, what could have been.

If you’re just after more of Takeshi Koike’s mind-blowing animation, there’s only a scant few projects in his trademark black-filled style. His most well-known work is probably the Samurai Champloo OP, or maybe World Record from The Animatrix (can’t find a link for that one, but y’know, do your thing). Koike also contributed animation to two other Ishii films: an extended intro for Party 7, and this aggressively horny dance sequence for Funky Forest. Back at Madhouse, it seems the studio liked to use Koike as a bait-and-switch, letting him direct lavish production pilots to secure adaptation rights then switching the staff up for the full production. Feels kind of scummy, but we got the immense Afro Samurai Pilot and Iron Man Pilot out of it. Finally, he made the series of Love shorts for SMAPxSMAP, the SMAP variety show, which are as dope as they are low-res.

I really wanna know if Koike was the one ballin out to CYNE and Gang Starr for this

—

And finally, as I threatened in my last post about Redline: let’s talk thematic depth.

~Thematic Depth~

In conversations online, Redline is often given this caveat of just being ‘eye candy’, or hit with the classic ‘style over substance’ cliche. Now, the phrase ‘style over substance’ has always bothered me, generally – it feels like it comes from folks who have never tried to make art before, who make light of the painstaking work and dedication that goes into creating anything – but it particularly frustrates me in animation. The process of animation is such an absurd, masochistic timesink that it’s a wonder anything ever gets finished at all; something this ambitious being finished, with this level of consistency and polish, is nothing short of a miracle, and to simply call that ‘style’ massively undervalues the whole endeavor. 

Because, make no mistake, Redline is ambitious as hell from a visual standpoint. The consistent focus on kinetic motion and speed, buoyed by Koike’s masterful use of exaggerated perspective, spatial distortion, and dynamic camera work; lots of moving, hand-drawn backgrounds instead of matte pans; lively crowd animation in most scenes; remarkably expressive, constant character animation that imbues personality to every character and never settles for industry standard lip flap dialogue… and all of this using incredibly complex character & mechanical designs, many of which feature distinct alien physiology, and a rendering style with bold, detailed shadows that would be more at home in illustration than animation. It is truly a singular work.

And the thing is, that wild ambition and unfailing dedication to the craft is the message.

The very first moments of Redline, before we see a single car or alien, are a brief series of title cards. I think most first-time viewers, and even many repeat viewers, immediately forget these words seconds after reading them due to the famously high-octane opening act. They read:

“In the far distant future, when cars are giving up their wheels in the changeover to air-cars, there still exist stubborn fools who carry on a vanishing spirit of racing…”

It’s easy to pass over this narration because, well, Redline simply isn’t about this conflict. We don’t see a single air-car racer, and there is no on-screen depiction of this purported old-school / new-school racing divide. So why is it here?

Because it’s the thesis of the whole damn project. Redline is about a group of old-school animation industry vets coming to terms with a changed industry that doesn’t support the type of art they want to create anymore, and their determination to pour their hearts into one last, stupid, beautiful swan song.

Madhouse was founded in 1972 by a group of ex-Mushi Pro staff, including Masao Maruyama and Yoshiaki Kawajiri. A response to Mushi Pro’s shoestring budgets and spartan timelines, the goal of studio Madhouse was to create production schedules where animators could flourish, rather than choosing the cheaper route; as Maruyama puts it, their mission statement was to ‘create animation other people aren’t interested in creating’. And, well, for decades, that’s what they did – Madhouse consistently gave a platform to idiosyncratic creators and produced incredible results. Their film canon includes pivotal productions like Kawajiri’s Ninja Scroll and Vampire Hunter D Bloodlust, Rintaro’s Metropolis, every single Satoshi Kon production from Perfect Blue to Paprika, and The Girl Who Leapt Through Time, the film that launched Mamoru Hosoda into stardom. While their TV output might be seen as more workmanlike, they were still dedicated to creating original stories. For example, despite his proven track record, Masaaki Yuasa was unable to secure funding and creative freedom anywhere else but Madhouse, with whom he produced Kemonozume, Kaiba, and The Tatami Galaxy prior to the establishment of Science Saru.

Takeshi Koike’s formative years as an animator were during this golden era of Madhouse. Poached directly out of high school by Yoshiaki Kawajiri himself, Koike was taken under his wing – his first job as a professional animator was inbetweening for Wicked City, and he’d moved up to key animation roles just one year later. I think Kawajiri’s intent was for Koike to be his protege; in this boom era of animation, with high-budget feature films and OVAs as the de facto standard, creative vision and a unique style is what you’d look for in an up-and-coming director, and Koike had both of these in spades. For a time, this pathway seemed almost assured; Koike’s big-league directing debut on The Animatrix produced one of its most well-received shorts, even amidst an anthology stacked with superstar creative talent.

Unfortunately, the turn of the millennium brought a lot of change for Madhouse and the industry at large. Budgets shrank, and production schedules started trending towards today’s unsustainable nightmare grind. CGI became ubiquitous not for the unique shots and compositions it allows for, but as a corner-cutting method for complicated actors like vehicles or mechas. A certain homogeneity and tendency toward ‘safe’, appealing designs and premises took hold; what good is your off-the-wall, creative worldbuilding idea when the anime industry revolves around merch sales, and generic moe waifus are outselling your original IP ten-to-one? All these industry vets could see the writing on the wall: animation would survive, but things were changing, and the ideals they’d founded their studio around were becoming untenable.

So I genuinely believe Redline is a parting shot from the old guard, a celebration of the era of the industry they cut their teeth on, one last lush, extravagant farewell before they passed the torch to the next generation. Maybe not from the start, sure, but after years of troubled development, progressing slowly due to the team’s meticulous vision, I think they rallied around the cause, dead set on making a masterwork, no matter what. Just look at the talent they attracted, the staff list reads like a best-of: Shinya Ohira, Hiroyuki Imaishi, Sushio, Yoshiaki Kawajiri, Sayo Yamamoto, Katsuya Yamada, Takafumi Hori. 

And that’s where we come back to that opening message, about those stubborn fools. Suddenly, that movie chock-full of characters putting everything on the line for their passions feels a lot more personal. Koike is JP, the traditional [animation / racing ] purist who’s become an anachronism and just wants to be able to do things his way; Kawajiri as the God of Racing, who JP’s looked up to since he was younger, giving him one last thumbs as he achieves his goals; and Maruyama as Frisbee, putting his livelihood in danger to buy his team the time and money they need for one last gig, who wants to see his friend finish the damn thing on his own terms, just this once. 

In a way, it makes it heartbreaking that Redline performed financially as poorly as it did; Japan’s frosty reception to the movie is at such odds with the fervor of its creators. But you know what? Redline exists, and it exists without compromises. They did what they set out to do. They made it across that finish line.

—

[varilien]

ive been wanting to do some redraws of the gravity falls art i made as a kid n since it's seasonally appropriate, here's some magician au doodles ^^

and just in case i don't come back to draw it again any time soon here's my thoughts so far on the topic and the original art circa smn like. idk maybe 2015 or 2016?? i wish i'd put the date on anything from back then lol

Palestine: Funds | Action | eSims | Info

Sudan Resources | Congo Resource | Lebanese Red Cross

i might change the designs later on but at this point i thought it'd be most fun to just kinda leave it really close to the originals :3

anyways!!

okay so gravity falls magician au. plotwise it's all actually about the same, the twins might be a little older actually, like 15 or 16 (maybe they've visited gravity falls in the past?), but whatever. they get sent to a sleepy little village in the woods to stay w their great uncle. magic runs in the pines family, although no currently living pines is thought to have any notable capability. healing a scratch or finding something u lost under ur bed, basically. magic is actually probably a lot more common and mundane in this world than canon, so gravity falls' weirdness as a region comes more from the intensity and unpredictable nature of the magic found there

anyways the BIGGEST plot difference is that i like the idea of the kids meeting bill pretty early on. he introduces himself as a seasoned familiar looking to get back in touch with his old partner. now, bill is a breath of fresh air for dipper in particular, who finally has someone he can speak frankly with about the weird experiences he's been having, but even tho bill loves nothing more than spilling secrets and arcane knowledge, he's not really able to do so as he'd like to. he's got TONS of spells placed on him for the express purpose of keeping him quiet, but there's a few things bill has been able to elude to if nothing else: 1, he knows who the author of the grimoire dipper found in the woods is. 2, he knows stan pines' great secret. and 3, he knows how to access magical power beyond comprehension

hehe idk i just like the idea of bill spending possibly months mentoring and making friends w the kids fully planning on just using them for his own gain the entire time but. well. maybe it's nice not being alone anymore too. tho he'd never admit it

[olderthannetfic]

Getting this off my chest:

Back from a small fanfic hiatus, and I am absolutely flabbergasted by all of the fic authors now practically begging their readers to READ THE TAGS.

I’ve been seeing this warning written in summaries, in author’s notes, highlighted in all caps in the actual tags. I’ve read so many apologies written by authors in the comments in response to people chastising the author for writing what they wanted to write, for what they tagged correctly — for what essentially comes down to nothing more than having had other people actively ignore their tags or read despite them.

And there seems to be this bizarre, somehow largely accepted idea that it is the creators job and responsibility to beseech their readers to ‘use caution’ and to ‘stay safe’, to ‘be mindful of their health’…

I am beyond confused here.

Since when??? did exercising the most basic form of common sense and acknowledging one’s personal yeas and nays, likes and limitations, become some other random stranger’s burden rather than one’s own? And especially a random person who tagged their work correctly??? Does no one remember how to harness their own powers of discernment and self-regulation???

This little jaunt back onto ao3 has been unlike any that I’ve ever experienced before. What. Happened?????? Who is this new, apparently severely emotionally unstable and obstinately tags-reading resistant audience everyone has come to focus on?

It all feels so out of touch. The basic concept of ao3 is for the reader to seek out what they want, not what they don’t want. And to actually read. But there seems to have been an extremely strong shift away from reading. On ao3. A site built specifically for reading and writing. (And other fandom artistic pursuits, but not my focus, atm; though I’m sure whatever this is has crept steadily into all spaces there.)

Plummeting reading comprehension must be somewhat to blame; the popularity of fanfic amongst younger and wider audiences, as well. But… young people have always been there, as far as my own experiences go, and it was never like this. It’s as if too many readers don’t know how to make good or even practical decisions for themselves anymore, that they’ve lost the skill of choosing, and now believe that they must consume everything that passes before them; — that they have, for some reason, adopted the belief that any turmoil or dislike or discomfort felt within themselves is harm purposely being done to them by the author.

Idk. Idk, idk, idk. It’s just such a bummer to see how much nervousness and distress has entered the community. Authors notes and comments used to be hilarious fun, or a peek into someone else’s real-life world, used to be casual and full of personality, whereas nowadays, there seems to be an underlying hesitancy and distrust, a sort of growing divide between writers and readers, groups which, until recently, very much were not mutually exclusive.

--

Idiots have been around forever. The more you cater to them, the more entitled they get. It's best to shut that shit down fast and use no warnings that indicate a willingness to entertain stupid complaints.

[rose-tea-and-strawberries]

So we have Yuu’s pseudo-parents(Crewel and the fab five) having insane lore, but what about Yuu herself having quite the backstory before she even got transmigrated to Twisted Wonderland. We love to see a seemingly innocent girl actually being involved in the wildest incidents a kid has ever gone through.

Yuu drinking too much energy drinks one time to stay awake for an exam only discover that she made it halfway to school on foot (she lived an hour away from school by bus).

These are just some examples off the top off my head.

Yuu starting a revolution about the dumb dress code in her old school that resulted in her classmates tying up the principal in his chair and a statue getting toppled over

Yuu accidentally falling out of a ferris wheel, but somehow surviving.

Yuu having a secret sibling somewhere who she secretly writes letters to.

Yuu accidentally blowing up a bridge for a science experiment.

Yuu and her friends being chased by maniac at night.

And finally…

“Yeah, I guess that happens to you when you use dragon meat to resurrect your best friend”

Hades is like, “You WHAT?!”

Someone else is like, “I thought she can’t use magic.”

The best part is that nobody can tell if she’s lying because they’re either in denial believe that Yuu wouldn’t lie about something like that. She tells her stories with the utmost sincerity and casualness. Not even Maleficent or Chernabog can detect any lies, so it must be true.

Idk I just love the idea of Yuu being a wild child when she was younger then mellowing out enough with her experience to boot just so she has the fortitude to handle even more wild children at NRC.

OH MY GOD YES THAT WOULD BE AWESOME!

Like the kids could be trapped somewhere and Yuu would be like "Don't worry guys, I've broken out of prison before so this should be a piece of-"

"YOU WHAT?!"

Or, alternatively:

Yuu: This reminds me of that time I was in jail

Mickey: You mean like in Monopoly, right?

Yuu:

Mickey: (sweating) you mean like in Monopoly, right???

I bet Pete would think twice about messing with the club when chaotic!Yuu is around because his schemes always bite him in the back. Twofold.

In fact, all villains know that Yuu is not someone you want to mess with. I know that girl always has makeshift weapons on her. And a very comprehensive/convoluted plan on how to commit murder and hide the body (+ as well as any alibis) with like fifty back up plans and a few dozen contingency plans for those back up plans.

She and the scientist characters like the BH6 gang, Jumba, Yzma, Prof Von Drake etc are always off causing trouble so there's a rule in the club (that Yuu always breaks anyway) that she's not allowed to be left alone with them

I can see her helping one of the magical characters with a spell or whatever and her nodding along like "yeah, I got this. So which animal are we sacrificing?”

"what?"

"what?"

I can see her wanting to test out different potions but Crewel and the fab five are stopping her and she's like "but I've drank poison before :( it's really no big deal :("

Oh you bet that there are like ten places her and her friends are banned from back in her world

Hades is so done with everything because he's just gotten used to this magicless mortal girl that trespasses into the underworld because Pain and Panic wanted to play just dance with her

So I'm into Epic the musical and now I'm just thinking about *SPOILERS FOR THE VENGEANCE SAGA* Yuu just casually dropping that one time she stabbed an immortal being into compliance as the entire club just stares at her in awe/horror.

The Fab Five whenever chaotic!Yuu is being chaotic:

Thanks for the ask ♡