#implicit submission

[justafewberries]

Themes of Implicit Submission in The Hunger Games (Book One)

I’ve just finished re-reading The Hunger Games (book one) and there are a few themes that I expect SOTR will develop based on Hume’s implicit submission theory. Specifically, these are the main six tactics I believe the Capitol uses to thwart another rebellion present in the first book alone: 

Societal Pressure:

District 12 has a “keep your head down” culture. Any talks of rebellion are frowned upon. Any anti-government statements will cause social repercussions. It’s not just Katniss rolling her eyes at Gale in the woods, it’s how she has been groomed by the culture to keep quiet about the issues pervading life in the district:

“When I was younger, I scared my mother to death, the things I would blurt about District 12, about the people who rule our country, Panem, from the far-off city called the Capitol. Eventually, I understood this would only lead us to more trouble. So I learned to hold my tongue and to turn my features into an indifferent mask so that no one could ever read my thoughts. Do my work quietly in school. Make only polite small talk in the public market. Discuss little more than trades in the Hob.… Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food shortages, or the Hunger Games. Prim might begin to repeat my words and then where would we be?” (p.6)

All of this proceeds the statement:

“Even here, in the middle of nowhere, you worry someone might overhear you.” (p. 5)

Under this point, it is also telling that during the reaping ceremony, Katniss says the “boldest form of dissent [the audience] can manage,” is silence. Not outrage, not yelling, not like district 11, but silence (p. 24).

2. Division between Classes 

The Capitol has created conflict within the districts to draw hatred to a local target. In the case of the first book, Gale remarks tesserae is a tactic to keep them divided. 

“Gale knows his anger at Madge is misdirected. On other days, deep in the woods, I’ve listened to him rant about how the tesserae are just another tool to cause misery in our district. A way to plant hatred between the starving workers of the Seam and those who can generally count on supper and thereby ensure we will never trust one another. “It’s to the Capitol’s advantage to have us divided among ourselves,” he might say if there were no ears to hear but mine.” (p. 14)

Interestingly, tesserae is already known as the “courtesy of the capitol” as stamped on Haymitch’s shorts in SOTR. The Capitol markets tesserae as something it does out of goodness. It attempts to make itself seem well-intentioned via the distribution of necessary goods. It’s their courtesy, after all. 

This point also includes the division between the districts. In the games, Katniss remarks how allying with the careers is essentially traitorous. 

“No one from District 12 would think of doing such a thing! Career tributes are overly vicious, arrogant, better fed, but only because they’re the Capitol’s lapdogs.” (p. 162)

By treating certain districts better, the Capitol promotes distrust between the districts, dampening potential unionization with planted hatred. By choosing favorite children, the parent that is the Capitol forces the districts to fight. 

3. Weaponized Language

The name of the Treaty of Treason, the treaty that makes the Hunger Games necessary per the law, is definitive of how the districts are forced to see themselves. They are the ones who committed treason by rebelling, and therefore they are guilty. They must repent by sending the children to the games. The permanent treaty, read during every reaping ceremony, enforces the guilt the districts are supposed to feel. In turn, the fact it is a “treaty” means the districts must have agreed to and signed it. Regardless of the circumstances around the signing of the treaty, the capitol then has the ability to wave it over their heads henceforth. 

The name itself points a finger and keeps the districts forever at fault. 

Furthermore, the fact Katniss is referred to by her district number until and even after she is given something to remember her by (the fire) further dehumanizes the tributes. During the parade, she says the citizens of the capitol have liked her and Peeta enough to "read the program" and learn their names (p. 70).

There are many more examples of villainizing and dehumanizing language in the book, but I have chosen those examples for the sake of brevity.

4. Propagandizing Education

A major theme in many dystopian novels is how the system treats education. In District 12, Katniss tells the reader:

“Besides basic reading and math, most of our instruction is coal-related. Except for the weekly lecture on the history of Panem. It’s mostly a lot of blather about what we owe the Capitol.” (p. 42)

A weekly lecture in a school is quite a lot of time to devote to any one subject. Seeing as how the rest of their curriculum revolves around district-specific content, the weekly lecture must be mandated across all districts, likely leaving the rest up to the discretion of the district itself. The Capitol once again emphasizes how the districts were wrong. It is repeated week after week, and eventually, it becomes ingrained in the social psychology of the district. 

5. Hunger and Deprivation of Needs

Continuing from the section about Katniss knows the weekly lecture must be propaganda, saying,

“I know there must be more than they’re telling us, an actual account of what happened during the rebellion. But I don’t spend much time thinking about it. Whatever the truth is, I don’t see how it will help me get food on the table.” (p. 42)

This point coincides with my second point about the division of classes. By keeping the people hungry, they are too busy thinking about the lowest rung on Maslow’s Hierarchy of Needs. They see those who have food, and they are the opposition in front of them, rather than examining the source of the problem. By keeping the people hungry, they are less likely to have the time or ability to even think about a collective uprising. 

6. Limiting Flow of Information

The Capitol limits the flow of information between districts. In doing so, the districts are forced to make bridging assumptions about one another. This is revealed through Katniss and Rue’s discussion in the games: 

“It’s interesting, hearing about her life. We have so little communication with anyone outside our district. In fact, I wonder if the Gamemakers are blocking out our conversation, because even though the information seems harmless, they don’t want people in different districts to know about one another.” (p. 203)

By keeping them separate, they can turn any district against another. They rely solely on the Capitol for information about other districts, and therefore the Capitol has all of the power. 

Interestingly, another division between classes is shown through Peeta’s knowledge about other districts. He knows the different types of bread from the districts, implying the merchant class may have more access to information than those of the seam, leading to further division between classes. 

All in all, these are the themes I expect to be addressed in SOTR based on the pretense of implicit submission.

[hijinks-n-lowjinks]

Suzanne Collin’s is writing another Hunger Games book I have a reason to live again

[unproduciblesmackdown]

spent the evening reading through all of the like galley pdf copy of the 2 trans 2 furious zine and a great time start to finish like it was Not an effort to keep at it despite its being like 160 pgs. and despite my not having ever seen a f&f movie or really especially directly "correctly" being interested, though i'd ofc love to see any of the films like live & in person w/a bunch of trans strangers, say

laughed and teared up multiple times and thought about how impressive and creative entries were and like, the momentum was easy, everything was engaging and intriguing and invigorating and enriching....and Printed Editions (that ship to US & canada) are still available for pre-order, for about another week (also the window given for us going over the digital copy for edits/corrections lol) soooo. again i like haven't seen any f&f movies, and that didn't impede anything at all, and it was a fantastic time:

and another reason i'm like Oh My God So Appropriate To Have Sent In An Entry is how, like, it's all transformative fun and serious yet not somber Media Analysis on media you don't have to have actually even seen, or "like" straightforwardly, or at all, or be the "correct" audience for, or have an "intended" interpretation, lol, lmao....like this is Extremely our shit out here lol, what one is up to all the time in the world of Billions Series Analysis like, personally haven't even seen it, i'm not cishet enough to be the intended audience or otherwise sharing various particular assumed perspectives that are occasionally required to even parse, much less enjoy, some material....and yet!!

and like, if there was an all-autistic contributor's fun fan media analysis / commentary / parody / exploration / transformation / etc zine about billions? it'd be like wow how exactly me, and yet ofc i'd be at way more of a loss at what to scream abt winnie, perhaps ft. & tay, and the overall [billions]ing, much less how to actually execute that lol. it was easier to do a Very 101 Intro To: Cam Stone Exists Btw, nonbinarily, in that i limited myself to One Page so i could actually feasibly get it done, but in doing so i, as expected, could only say a fraction of what i could say about cam, were i explaining things in full / just unleashed, and skim the surface but just go "they exist btw and here's a tiny bit of further 101 info." it's not like, An Issue, b/c i don't think the [everything] that i could say would work great in full, and i can't write a great little short form piece of text about them (or winston, or anything else)....but it was also like, well if a trans f&f zine Doesn't have the trans f&f character in it then what are we doing, and We Know Of Cam Stone, so the most feasible [handing out a flyer] version of telling ppl they exist has gotta be done

and it's like, it's (relatively?) matter of fact to this end of only having so much room to put in words, and definitely ending up having to squeeze lines in vs struggling to fill the space. it could've been weirder, or funnier, or hornier, but it successfully exists and maybe it's a little weird, funny, and horny (drew an Especially [ooh sexy cam stone]-tinged pic lol) and whatever is difficult for me to perceive abt my own personality infusion in whatever, like how i have to be reminded like oh right, my Art Style, the way that Eye draw lol....and of course, i can't and don't expect my one page informative crash course intro to cam stone to be able to be Everything, any more than years' worth of lots of [winston billions] material in various formats of various extensiveness from various angles has been Everything. and the zine as a whole can't be Everything but it is, in fact, So Much abt So Many Things from so many different approaches. i enjoyed everything, especially like, "An Ode to X" as in fast x, which evolves into "x" as an (implicitly nonbinary) in-universe character and i was Moved and teared up, and i see it immediately follows "Jason Statham Will Call My Dad A Pussy In Fast 12" which moved me and made me tear up, which follows an entry that's a haiku about each film, none of which i've seen, which i didn't get misty about of course but was fully engaged with and enjoys, which follows my entry

there's naturally plenty about roads and horizons and racing and speed and i'm also like, i'm a gay who can drive, and i can feel it re: the trans contributor whose entry mine follows which is about their irl experiences driving in a demolition derby, inspired by f&f. and i can feel it re: enjoying f&f beyond how you're "supposed" to, or how you would in a cishet(tm) way, and how so many of these entries had resonance, and that intrigue and engagement, and lenses on where to find explorations of gendering which will kind of Have to come up whenever anything succeeds in approaching things that are genuine and really truly more To Life, even while the point of f&f is not to be "realistic," especially about, you know, the driving and what you can do with cars, which i fully appreciate and definitely understood more for cam stone being in a story ramming through a wall outracing an avalanche hacking cop cars and defusing bombs and ramping over bucket wheel mining excavators and being swept out of the way of a train that was going full speed but silent until like 0.05 sec ago when it also burst through a wall or something? and whomever all is involved with racing like a rocket launch fr. and having fun, being yourself, and killing people, hell yeah

and like, the [this is like my autistic ass out here laser pointing at winston billions as autistic and having that lens on this media that doesn't intend it or directly invoke it] relevance also Of Course in that, through kompenso, that is where it is like yes as i have that personal symposium of ongoing compounding unfolding branching distilling consideration, analysis, appreciation, transformation, etc going on, so too does my colleague as the world's preeminent tayficionado, which is where they looked into akd's oeuvre and found the cam stone material, and passed it on to me, then passed on the [zine call for trans f&f contributions], So

and that, just like as is also found crucially in kompenso / the then preexisting & all eventually following winnie n tay material, there's that Autistic and Trans resonance. some particular quotes from this zine were especially like, oh, pointing, pointing...."Thirty minutes into my visit, I suddenly just didn’t want to be there anymore. I didn’t feel angry, not really very sad at all either. I just longed to be elsewhere. A different place, with different people, within a different moment. And then every cell in my body pleaded to not feel that way in all of my moments, in every group of people, in all places." ....[from a poem, ft. formatting thusly:] "It made me feel important, kind of? Like, more present? Like people talked about me a lot but never exactly about ME, if you know what I mean. I mean, of course sometimes I could feel something inside of me. A sneaking or, like, a skittering. I just kind of figured everyone feels that sometimes, like really deep down, right? It’s just that no one really talks about it, you know. That’s what I figured." ....[from a section of a contribution w/the context of the author not yet knowing that they're trans]: "but he was familiar and didn’t make me think too critically about much in the world, especially myself, especially as he never seemed too interested to ask me about me—not that I would’ve had much insight to share at the time beyond “please do not think too deeply about how I am.”"; and then, w/the context that they do realize, and have expressed, that they're trans: "but I was still learning about the concept of mattering, so I didn’t push the issue of basic respect at the time." ....from another submission, that is Sooo: "maybe i am transing Fast and Furious just by loving it" ...."Discovering, loving, and sharing this franchise (and myself) with others has been such a wildly different experience—maybe even the opposite experience—than self-policing myself into who I thought I should be. It’s nourishing, welcoming—an open invitation to learn and grow rather than an ongoing test to constantly worry about failing."

an ongoing test to constantly worry about failing....here ofc a parallel to Gendering, and, ofc, the autistic & trans [handshake] and resonance, to Autisting....i resonated with plenty, genderingly, but this wasn't a surprise or even like, my focus, and of course not all the entries themselves Textually mention [gendering], but it's like, a trans space in a zine lol, a baseline of that understanding and perspective, vs having to be actively looking. nonzero textual neurodivergence mentions, too, and other lenses of ways to be Othered / non normative, like race, nationality, religion. the overarching, Constant [omg sooo me] resonance is that of like, having this foundation of refusing Limits, of approaching a Rich Text a hundred different ways, w/different tones, and different formats, and different experiences and ideas explored. you don't need the source material to acknowledge any noncishet people textually exist (to be understood by noncishet audiences), or to be deemed Good, or Enjoyed, or your entry to be proffered as like, correct and definitive rather than One exploration you could offer up, amongst many offered by many others who could say more, again, differently....i've been like, balancing excitement for having this contribution, and its being like ooh fancy lol this is the one time i can say i have (non self-)published work, and it'll be Out There, and (including all contributors' gifted copies) apparently that ft. abt a thousand printed copies atm, and the digital distribution option hasn't happened yet....along with, like, it can't even be my comprehensive, definitive [cam stone exists btw] theoretical Ideal Entry lol b/c that would not be feasible for me to make or to be put into a zine. knowing i have Points on my side for it being crucially relevant lore (and the competition being hotter for the small form text entries, though there's other illustrations, comics, collages, edits, etc) like, yeah the strength of this isn't in its being as weird or funny or horny as anything could be, lol....but my Personality is embedded in it as per like, see: how that Journey of relevant interests and enthusiasms and engagements and perspectives and weirder, hornier, more extensive and varied works led up to and contribute to this piece's existence (such as, years of drawing winston 9000 times being part of how my drawing looked in march, when i made the cam stone piece)

and like, in not seeing everything as a test to fail, in seeing [when are you seeing things as that test to fail], &/or similarly/overlappingly seeing [when are you seeing things as a test to Prove Value to others or something and achieve person status in their eyes b/c of it] like, lol, i hope a thousand plus ppl learn cam stone exists, and it'd be fun if they enjoy that process. put in little floaty hearts as flair, just as i often do, b/c by now i just Know and Embrace that i do. and i'm not like "i hope everyone ever is blown away" b/c why would they be lol, and that's fine. like how even in [i just say some shit abt winston billions, and ofc abt myself and my experiences / perspectives through winston billions while knowing that's not what's "meant" out here probably maybe though put me through to will roland, yknow...] i'm like oh don't be thinking abt proving your value w/this specific oeuvre lol like. anyone Caring as validation like, it's too late by now, i like people liking shit and getting anything out of it but it's like, i'm doing my thing, i'm having a specific ass symposium abt quantent and billionsing "wrong" that eye enjoy, i enjoy getting any feedback/attention on shit i put out there in case ppl wanna partake, i don't enjoy any/all of it in any/all ways just so long as it's Anything, yknow. like same with interactions/attention on Me as an autistic person who actually exists, lol. speaking being exhausting when it's ppl saying shit At me, would-be "positive" attention that's from someone like deciding what i'm like or what i'm communicating and wanting something from me, that shared discussion Abt something can only be a gateway into like "normal" exchanges to "normally" socialize, finding that pattern of not being worth effort unless it's effort that gets something out of hurting you / thwarting you; all versus: i have plenty of expertise knowing myself vs needing feedback, i like doing my thing, i like doing my thing Alongside others, probably strangers, within a certain context, like being cooped up at college and socially recharging by going ""alone"" to the coffeeshop down the block, while going "with" people would generally be a mixed bag if not disheartening to even distressing. which, here i am, doing my little thing alongside strangers in this context of transgendering and fun and serious but not not funny and varying and daring and earnest materials exploring something that's about anything or everything or nothing, and not made for You, but here you are anyways, as you always have been

anyways, that is to say, like, perfect that it's turned out so like "yeah you don't need to have seen the movies even" and such enriching Reflections and like, so different and yet cohesive without needing to like, painstakingly group or order things to create some Connections, they're all there, and i'm like damn yeah cam's quarter-mile V neck, so fucking true. and i'm like, this is so Me, without having to be like, "and that is b/c i have put Me on the page, in full, with utmost success, and Everyone Will Love It (Me)" lol, which was not like, a danger, but that's through all the years of going [everything is a test i'm failing / can fail at any moment] and yknow, even up to recently and this very moment wrangling with and realizing things like, hand on shoulder are you looking to "earn" some estimation of Value in others' eyes that they can only choose to give by seeing everyone as a fellow person w/inherent value who deserves basic respect. like the mortality mondays that ramped up since late january, but also since '09, but also since like forever in different forms, and back when first discovering billions and, for like the only time while we've been watching, Knowing when everything in a season will air, but also not thinking i'd get to see it, and now in a similar boat, but different (having done "nothing" on paper over the years but like, been Realizing Things, been powering up, been assigning the Value to myself and Understanding myself & my experiences further. and also other things that you Could put on paper, but yknow), and like, it's still about [grr let me see billions through, even though i don't even see billions] and still about [!!!] despite it all and things that are "unserious" and also not and who needs like a certain kind of validation from enough of certain kinds of people

anyways, the autistique resonance within it, and in the process of reading it, and having our specific path to sending something in, and making it. it's an excellent ride and it's very epic that it exists so consider that print copy preorder if you want (plus the intended eventual digital distribution option, not yet available)

[thetimetraveler24]

“Oh my god we’re getting Haymitch’s games” “oh my god I can’t wait to see this from Haymitch’s pov”

Suzanne Collins doesn’t write unless she has something to say. With the current political climate, I can’t wait to hear what she has to say. It’s supposed to be about the power of propaganda and implicit submission? Consider me sat, oh my god this is going to be great.

[internet-rat]

Distracting him while he is reading - Aemond x wife!reader

NSFW below cut~

Just you soft domming him~

As you approached Aemond, the sight of him absorbed in his studies, his focus unwavering, struck a chord of admiration within you. His dedication, the way he hunched over scrolls and texts, his silver hair falling slightly over his intense gaze, added layers to the man you loved—both fierce warrior and keen scholar. Your presence behind him was a silent declaration of your affection, and your hands on his chest, a gentle but firm reminder of the intimacy you shared.

You leaned over, your lips brushing the top of his head in a tender, possessive gesture. The contact was light but symbolic, marking him as yours in a way that was intimate and personal. Your voice, teasing yet laced with dominance, broke the silence, rippling through the air with a warmth that contrasted the cool, scholarly atmosphere of the room.

"Look at you... so studious..."

The words were playful but carried with them an undercurrent of pride and affection. Aemond's reaction was immediate; he straightened slightly, a small smile tugging at the corners of his lips, an indication of the pleasure your presence and recognition brought him. His hand reached up to cover yours, pressing it against his chest, feeling the steady beat of his heart beneath your touch.

His voice, when he spoke, was content, deeply resonant with the layers of emotion your proximity evoked. "For the realm, my love, and for us. Knowledge is as much a weapon as a sword in the right hands." His words acknowledged the dual purpose of his studies, for the kingdom he might one day rule and the life he built with you.

Turning his chair slightly, he looked up at you, his lilac eye shining with a light that was reserved just for these moments, away from the eyes of the court. "But even the most devoted scholar needs a distraction... especially one as delightful as you." His finger traced a line up your arm, a tender gesture that spoke volumes of his deep affection and need for you.

The dynamic between you, the shift from your dominant tease to his studious demeanor, played out like a well-rehearsed dance, each knowing their role perfectly, each finding joy and strength in the balance you maintained.

Your teasing smile widened as you watched the reaction dance across Aemond's features, the edge of vulnerability and anticipation that only you could draw out with your command. The power of your gentle, dominant voice, coupled with the intimate familiarity of your actions, was an intoxicating blend that effortlessly recalibrated the atmosphere in the room.

"Keep reading..." you whispered, the directive clear, carrying an implicit challenge that stirred him deeper. It was a game of control, beautifully executed, where your dominance seamlessly intertwined with his submission, each act designed to heighten and play upon the layers of your unique bond.

With one hand, you delicately unbuttoned the top of his shirt, slipping inside to trace the lines of his chest. Your fingers danced lightly over his skin, exploring the familiar terrain with a touch that was both loving and calculated to elicit a specific response. The intimacy of the contact sent a shiver through him, a testament to the potency of your touch.

Meanwhile, your other hand ventured lower, deftly freeing his member from the confines of his clothing. The air of the room, previously filled with the musty scent of old books and ink, now pulsed with the more primal scent of arousal. Your fingers encircled him gently at first, then with firmer intent, beginning a slow, deliberate stroke that contrasted sharply with the scholarly stillness around you.

Aemond’s breath hitched, his eyes flickering under the strain of concentrating on the text before him. The dual sensations of your hands—one teasing his chest and the other coaxing his arousal—created a delicious tension within him. His grip on the scroll tightened slightly, a silent testament to the effort it took to obey your command to keep reading.

His voice, when he spoke, was strained but laced with a dark amusement at the game you played so skillfully. "Is this my reward for diligence, or a test of my focus, my queen?" he asked, the words a husky murmur that vibrated with the underlying thrill of your shared interplay.

"Why not both, pretty boy?" Your reply, playful yet laced with command, echoed in the quiet of the room, each word accentuating the dual nature of your actions—a reward mingled with a challenge. Your touch grew more intent, your hand moving rhythmically over his now slick member, enhancing each stroke with the natural lubrication of his arousal. The firm grip and calculated motions stirred him further into the depths of submission.

At the same time, your other hand kept caressing his chest, fingers finding a nipple and squeezing gently, adding layers of sensation that mingled pain with pleasure—a tactile whisper that contrasted sharply with the more overt stimulation elsewhere. Each squeeze was a punctuation, a reminder of your control and his surrender.

Leaning closer, your lips brushed against the sensitive skin of his neck, the kiss soft but possessing an underlying promise of more. The subtle intrusion of your teeth, nipping delicately at his flesh, drew a suppressed groan from him, a sound he struggled to contain beneath the guise of studious focus.

"Keep reading, sweetie," you whispered directly into his ear, your voice a soft command wrapped in velvet dominance. The words, tender yet unyielding, were a tether, holding him to the task even as your actions sought to pull him away into sensuous abandon.

Aemond's eyes fluttered, his focus visibly wavering as he attempted to process the text before him. Each word seemed to swim, blurring under the dual assault of pleasure and mild pain. His responses became more pronounced, a soft stutter or twitch here and there, signs of his unraveling under your expert touch.

His submission was beautiful, a delicate balance of maintaining his role even as he succumbed to the sensations you so skillfully provoked. His voice, when he next spoke, carried a tremor, a delightful indication of his internal struggle. "I—I am trying, my queen," he managed, the words tinged with a desperation that was both adorable and deeply satisfying.

This dance of dominance and submission, enacted within the quiet sanctum of Aemond’s study, was a testament to the profound connection and trust between you, a dialogue of desire spoken in touches and whispers, each moment building upon the last to create a tapestry of shared intimacy and power.

The playful torment you wrought upon Aemond—this blend of intellectual challenge and sensual overload—was exquisitely torturous. As your tongue trailed a slow, deliberate path along his neck, followed by a teasing nip that sent a sharp jolt of pleasure through him, his body tensed under the dual assault of sensation and the relentless pace of your hand.

You stroked him faster, the slick glide of your fingers coaxing him ever closer to the edge of release, yet you demanded his attention remain on the scholarly task at hand. Your voice, a sultry murmur beside his ear, was both a caress and a command, "Mhm~ What does that line there say about Aegon the Conqueror? Tell me, my sweet..."

The juxtaposition of his historical studies and the physical ecstasy you elicited was a wicked game, one that frayed the edges of his concentration. Aemond's eye darted towards the book, his gaze attempting to focus on the words that now danced mockingly before him. His voice, a breathy mixture of arousal and frustration, struggled for coherence. "It—it says that Aegon... he unified the kingdoms... through—ah, through power and—"

His words faltered, drowned out by the rising tide of pleasure that threatened to wash away all semblance of scholarly thought. The intensity of your touch, the sensual provocations you delivered, left little room for anything but the raw, primal need to give in to the sensations overwhelming him.

As you savored the intoxicating blend of his desperation and arousal, your kisses trailed along his neck, each a branding of possession and comfort. Your hand movements intensified, a relentless rhythm designed to push him beyond the brink of his restraint. He was beautifully unraveled, thoroughly under your control, and completely at the mercy of your touch.

Into the curve of his ear, your voice, soft yet laced with undeniable authority, coaxed him further towards release. "Such a good boy~ Do you want to cum?" The words, tender yet commanding, were all it took to breach the last of his defenses.

Aemond's response was a choked moan, his body tensing as he teetered on the edge of surrender. "Yes, please, my queen... I need to..." His plea was fervent, a raw admission of his need, underscored by the overwhelming desire to obey and relinquish all control to you.

Your grip tightened slightly, your pace quickening in answer to his desperate plea, guiding him lovingly yet firmly toward climax. It was a powerful affirmation of the trust and dynamic you shared, the unspoken promise that you would always provide what he needed most.

With the full weight of your command behind it, you quickened your strokes to a feverish pace, each movement precise and calculated to bring him to the pinnacle of pleasure. "Cum," you whispered, the word not just a permission but an order, delivered with a dominating tenderness that left no room for hesitation.

Aemond’s breath caught in his throat, a strangled sound of both desperation and relief. His body reacted instinctively to your command, muscle tension coiling tighter, his entire being focused on the brink of release. The intensity of your touch, the commanding sultry tone of your voice, and the overwhelming need to obey pushed him over the edge.

The climax, when it came, was shattering. Aemond cried out, his voice breaking with the raw intensity of his release. His body shuddered under your hands, waves of pleasure rolling through him in powerful surges as he gave himself over to the sensations you had drawn out of him.

As he trembled, you slowed your touches, gently easing him through the aftershocks of his profound release. Your presence, both commanding and nurturing, enveloped him, a reminder of the safety and care interwoven with the strict control you exerted. In this moment, Aemond was utterly yours, bound by the deep, undeniable connection you shared, underscored by the trust and surrender that defined your relationship.

As Aemond's breathing gradually steadied, you pulled him close into a tender embrace, giving him the comfort and security he needed after the intensity of his release. You guided his head to rest against your chest, allowing him the intimate solace of burying his face in the softness of your breasts. The warmth of your body enveloped him, a soothing balm to the raw vulnerability he had just experienced.

Gently, you kissed the top of his head, a gesture filled with affection and care. Each touch reinforced the safety and love that surrounded him when he was with you. In this quiet, protected space, free from the demands of his title and the expectations of the court, Aemond could simply be himself—loved and cherished.

"I love you so much, my darling," you whispered, your voice a soft melody that floated in the air around him. The simple, heartfelt declaration was more than just words; it was a reaffirmation of the deep, enduring bond you shared. It was your way of showing him that no matter how fierce the battles he faced outside these walls, within them, he was always your beloved, your pretty boy, deserving of all the love and care you could give.

Feeling the resonance of your words, Aemond sighed contentedly, the tension further melting away under your ministrations. His arms wrapped around you, holding on to you as if you were his anchor in a tumultuous sea. In this embrace, encircled by your strength and tenderness, Aemond found a profound sense of peace and belonging, his heart secure in the knowledge that he was truly loved.

[capr1pengu1n]

be advised, no restitution comes tonight

Summary: Reluctantly agreeing to attend a Halloween party, once Jonathan sees you in your outfit, he can't seem to keep his hands to himself

Warnings: 18+ smut, fem reader (no use of y/n), dom!Jonathan, roleplay, costumes, corruption kink, choking, spanking, fear play(ish), creampie

Words: 2.6k

Notes: Happy halloween! <3 Hope you all have a spooky day! <3

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With a sigh, Jonathan adjusts the cloak that wraps around his dark ensemble, looking in the mirror with a critical eye. Halloween has always been his favourite holiday, and why wouldn't it be? The night where everyone in Gotham is after a thrill, a scare. And he'd be there to give it to them, pumping his fear gas into whatever nightclub room or cinema screening he fancied, watching on in glee as people screamed and sobbed at the intensity of their nightmarish visions. He'd laugh to himself, analysing their facial expressions, estimating their heart rate, placing small bets as to which person would crack first.

Ideally that's what he'd be doing now, but as he adjusted the ridiculous costume you'd made him wear, he had to place those thoughts away. Being invited to a party was not his idea of a good time, but he knew the optics, he knew he had to show his face, if only for an hour or two before he could slip away and start his own night of fun. And if some liquidized fear toxin just happened to make it's way into whatever stupidly expensive liquor Nygma would be sure to be drinking, then he supposes he'll just have to enjoy the show.

"Y'done yet?" He calls out to you, eyeing the bedroom door with slight annoyance. The sooner you both leave, the sooner he can get this whole socialisation over with. Muttering to himself, he checks his watch before the telltale creak of the door opening makes his eyes dart up.

You'd told him your idea of a couples costume, and he'd scoffed at first. It was only when you promised to watch some obscure french horror film with him that he finally relented and allowed you to order the costume in his measurements. But now he realises it was worth it, if only to see you looking so...delectable.

You grin as you walk up to him, long white dress trailing with each step. He watches your eyes go to the mask, and the slight blush that forms on your cheek as you take him in.

While he'd read the novel, he had never seen the film or stage adaptation of the Phantom of the Opera, only familiar with the mask that now adorns his sharp features. So he hadn't known what to expect when you said you were dressing as Christine. Immediately his hands go to trace the lace sleeves of the dress, bony digits caressing the pattern downwards.

"Jon...you look amazing." you say with a smile, the white mask coupled with the dark suit and cloak really making him appear more villainous. His stature means he looms over you as you speak, and the faintest trace of a smirk becomes etched on his face as he realises the effect he's having.

Not that his trousers hadn't gotten more tight the second he'd seen you, the picture of innocence in virginal white, your hair up and adorned with little gems. To tease you, he grabs your wrist and holds it up, pulling you closer and not letting you pull away.

"Don't you look like a little angel." he taunts, eyes dragging up and down you once again, settling on your cleavage shamelessly. Your breathing increases, slightly intentional on your part to make your chest rise and fall in an obvious way.

"Do I?" you ask, slightly coquettishly as you smile up at him. In return, the grip on your wrist tightens a little.

"You do darlin'...so innocent and corruptible."

At his words, you flush slightly as he bends down to run his nose gently along the side of your neck. The gesture makes your lips part, tilting your head and baring yourself to him as a sign of implicit submission. And he likes that.

"The Phantom wants the girl, doesn't he?" he asks, his voice slightly rougher as you nod in confirmation. "Can see why, but does she want him?"

"In the film she does...she's drawn to his mystery I think."

He hums in response, leaning down but stopping just before his lips graze your skin, content to watch the slight shiver the action elicits from you. "And what about you?"

"If it's you, then I'd follow you anywhere. Even in the depths of your lair beneath an opera house." you say breathlessly with a soft laugh, attempting to make light of the situation to save yourself the embarrassment of admitting just how turned on you've became by Jonathan doing barely anything.

He finally lets go of your wrist, but not before pushing you so your back hits the hallway wall. This time when he leans down, he does leave a soft kiss right on your pulse point, and the soft whimper that escapes your throat makes him grin.

"Jonathan...we have to go, we don't want to be late." You say, attempting to have some control over yourself. But he doesn't let you move, still crowding you against the wall.

"I have to get in character, don't I?" he teases, and you could curse his southern drawl for sounding too attractive in this moment as his breath tickles your ear. "I'm a very...passionate man after all, am I not? One that is hopelessly in love with the beautiful young opera singer."

His tone is almost mocking, but it doesn't stop you from biting your lip as his chest nearly presses against yours. Teeth gently graze your earlobe before he continues. "And my beautiful prey has stumbled into my lair so willingly, in such a temptin' outfit."

He punctuates his words by running his hands up your sides, thinking the fabric is too soft, too delicate for a man like him to be touching. But that is precisely what's turning him on, as he holds you in place. "Perhaps I should demonstrate to her the depths of my desires...show her what she's missin' out on in her pristine life."

His words act like a sharp knife, cutting through your worry of being punctual as he can observe your shoulders relaxing. To seal the deal, he brings his mouth to the side of your neck and bites down, leaving a mark. "So I can taint her."

With a shaky sigh, you nod, giving him the permission he was waiting for. His hands reach up to cup your tits, feeling the top of them roughly beneath his callous fingers. You arch your back a little, enjoying the touch despite the slight discomfort.

"Tell me my dear...are you scared of me?" he mutters, his voice taking on a dark edge as he gets into character, well, his version at least.

"Y-Yes." you say softly, playing up the innocent victim angle, just like you know he likes.

"You should be...these hands have ended the lives of many men who cross me, of men who think they can have you."

Despite the make believe aspect, your breath still catches and your hips still buck at his words, heat blossoming between your legs. Of course he catches this, moving his hands down to feel your hips, head dipping to kiss down your neck to your collarbones.

"And yet you come to me so willingly, such eager prey."

At his words, he traces his teeth down, not quite breaking the skin but giving you the threat that he could. You let out a deliciously desperate noise, almost tempted to beg but deciding against it. Jonathan always liked the thrill of the chase, of wearing you down and frightening you into submission. And you loved to give him that.

"What are you going to do to me?" you ask, proud of yourself for how convincing you made your apprehension sound.

"Oh angel..." he croons, pulling away to look at you, grasping your jaw for good measure. "Whatever I please."

At his words, he grips your wrist once more before pulling you into the bedroom. You stumble to match his pace as he takes a moment to look at you once more. It's almost clinical, the way he stares at you.

"I wonder what you'll look like beneath me." he says aloud, starting to circle you, relishing in the embarrassment that seems to radiate from you. You fight to keep still, fiddling with your sleeve before he settles behind you.

His hands go to the back of your dress, where you’d nearly cracked your back attempting to tie a cute little bow. Feeling the dress loosen, you know he’s undone it, before he reaches around to grip at your throat, pulling your back roughly against his chest. He doesn't move or relax his grip, simply humming and pressing his mouth to your jawline.

"You're tremblin' like a leaf." he says in a self-satisfied manner. "Maybe I should show y'the things I can make you feel."

Pressing his fingers in a little, the sensation of him choking you has a soft mewl escape your lips, eyelids fluttering shut. Your life is in his hands, both in the roleplay and in reality, and it causes your thighs to press together firmly.

"The pleasure that comes from fear, the endorphins your body releases when you’re unsure if you should run or submit.”

He hisses the last word into your ear, before bending you over the bed. You yelp softly, bracing your fall on your elbows as he quickly pushes the long white skirt up. As more of your skin is revealed, he lets out a guttural noise as he sees the matching white stockings and garter belts you’d put on underneath.

“Such a fuckin’ sight.” He says, snapping the elastic of the stocking against your skin to make you jump.

His constantly cold hands trace up to your panties, feeling the wet material beneath his fingertip. Smirking, he circles it methodically, your clit receiving a dull stimulation.

“Please…” you beg him softly, trying to grind down on his digit.

He wants nothing more than to drag this out, to make you beg and scream for him before he finally takes you. But he knows time is fleeting, and you both need to make an appearance soon. So he quickly pulls down your underwear, so they stay around your knees, before pushing a finger inside your sloppy sounding cunt.

“So wet…I knew you were secretly a dirty angel. Practically soaking through your nice underwear. All f’me.”

At his words he pushes a second one inside, stretching you out as he fucks you with a suprisingly gentle rhythm. Your thighs shake a little, and images of you screaming and writhing with his fear toxin in your system flash across his mind.

Pushing back against him, the rhythm of your hips moving forces him out of his daydream, and he deems you stretched enough to pull his fingers out, wiping them on your ass.

He fiddles with the zipper of his costume, before he gets an idea. Grabbing you, he forces you around the bed, so you’re still bent over, but are now facing the mirror you'd used earlier to admire yourself in your dress.

You gasp softly in embarrassment as you realise what he wants, but your eyes can’t tear themselves away from his face, how gorgeous the mask looks settled on his striking features. So captivated, you miss that he’s taken his cock out until he taps it against your asscheek, before pushing it against your soaked folds.

“Do you want me? Beg. Beg me to debase you, to corrupt you.”

“Please…” you say, needing him desperately as he grinds his cock along your cunt, never quite breaching. Holding his gaze in the mirror, you reiterate. “Please corrupt me.”

He grins, before pushing in, and your mouth parts into a slight 'o' shape as you’re filled. The ever so slight burning stretch only adds to the sensation, your hands gripping the sheets as he settles inside you as deep as he physically can get himself.

“Good…” he gets out through gritted teeth.

At your airy moan, he starts his even pace. The slick sound of skin meeting skin fills the room, and you have to look down to avoid the image of your own desperation in the mirror. A hand grabs at your hair and pulls, disrupting your carefully placed hairstyle.

“Look at yourself, watch as the monster everyone fears takes what he wants.”

You moan louder, watching your own expression in the reflection as you’re fucked. Luckily he doesn’t seem to mind when your gaze travels upwards, watching his facial expressions. His jaw set in a tight line, he looks at you with an almost sadistic expression. Like he unashamedly wants to break you.

His hand grabs at your hip, feeling the material beneath his grasp as he bunches it. With each thrust, the dress ripples and moves, and he looks up to see your breasts bouncing with each snap of his hips.

“How depraved you’re become, moanin' like a paid harlot on the Paris streets.” He groans, and you’d admire his dedication to the roleplay if your brains weren’t leaking out of your ears. “Such wanton desperation from a girl as delectable as you.”

You whine at his praise, unable to hold yourself up anymore so you let yourself fall into the pillows. The image causes Jonathan to speed up his thrusts, gripping one of your hands and moving it in a demand for you to self pleasure. Not needing to be told twice, you start to circle your clit, moaning out at the sensation.

“Good girl…need you to cum around me, show me how lustful and immodest I’ve made you.”

You nod, feeling the pleasure build and build. A sharp slap to the ass makes you jump, writhing in place. Sure that you’re makeup is most likely a mess now, you drag your cheek across the sheets to get a better look at the mirror, more specifically at your lover.

The fact he hadn’t taken the costume off makes it even better, his cloak moving with every thrust. You’re a little surprised his mask has stayed on, but you thank whatever sex deity allowed it to remain in place for the image it gives you. This’ll be masturbation fodder for a good while, you’re sure of it.

“Gonna cum…” you manage to get out after a while longer, his cock thrusting into your g spot with cruel precision now. He growls behind you, slapping your ass again just to be cruel.

However the stinging pain tips you over the edge as you cum with a soft cry, clenching around him. You keep rubbing your clit, prolonging the pleasure for as long as possible. Hands falling back to the sheets, you feel Jonathan slightly reposition you, before he starts thrusting harder.

Clearly chasing his own release, he grips both of your hips and rams into you, and his breathing patterns lets you know it won’t be long. So you keep letting out pathetic sounding gasps and whines, arching your back for him. He groans, feeling his balls tighten.

“I’m gonna fill you up, make you keep my cum all throughout the stupid party.” He manages to get out, before he’s spilling inside of you. After a few more shallow thrusts, he stills, basking in the feeling of your walls wrapped around him.

Eventually he pulls out, quickly yanking your panties up snugly so his cum can’t leak out all the way. You whimper at the sensation, cold and uncomfortable, but at the same time so...right.

“There…nice and snug.” He condescends, patting your ass before pulling your dress back down. Helping you up, he turns you around and holds your cheek, looking down at you. “Was I convincing?”

You nod dumbly, still frazzled even as Jonathan looks at his watch. “Good, if we leave now we can still make it in time to see Nygma relive his childhood years after toasting his glass.”

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[edwardteachswombtattoo]

I've broken down aspects of the Gentlebeard relationship dynamic before, but this time I'd like to focus on consent/boundaries.

In most of their interactions, Stede will wait for Ed to initiate or give some physical sign that touching is okay. If Stede initiates (i.e. the hand holding in S2 Episode 5) he asks if it's okay with the implication he will stop if Ed is uncomfortable. In this way Stede gives Ed control over the interaction, allowing Ed to decide when/if he is touched, how much touching is okay, and when touching is no longer okay. Instead of asking "Is it alright if I touch you?" he either extends physical affection and waits (putting his hand on the tub in the bathtub scene, offering but not asking) or asks something like "Is this okay?" (the hand-holding).

Importantly, Ed does not like being touched without his consent (i.e. Izzy stroking his face, the lady at the fancy party trying to touch his beard, etc.). OFMD is not a "race blind" narrative. The show acknowledges that Ed is a brown man moving through a primarily white society and how others feel entitled to invade his physical space and touch him without consent. This is a form of dehumanization.

"Fun and Games" is a study in communication (or lack thereof), but also an implicit study of how well Stede adheres to Ed's personal boundaries. He does not try to initiate or offer touch, but initiates and offers gentle verbal affection after testing the waters to see how Ed responds (i.e. complimenting Ed on his beard). And when Ed curtails that verbal affection (interjecting when Stede tries to say "I love you") Stede thoughtfully redirects ("I love everything about you").

We joke about Ed being a sub or whatever, but this is actually a very helpful concept. In a mutually healthy sub/dom dynamic, it is actually the sub (submissive) who has all or most of the power. The sub can give up some measure of control to the dom, but only if the sub consents and they can revoke that consent at any point during the scene. Rules must be set and agreed upon by both the dom and sub prior to the scene (BDSM contracts exist for a reason) and there must be a foundation of trust between sub and dom. If the sub does not trust the dom, the scene doesn't happen. The scene can only be initiated if the sub consents prior in some way or another. Obv subs can abuse their doms and abuse in general can happen, which is why I specified a mutually healthy sub/dom dynamic.

Importantly, even when Stede is initiating in some way, he stops and waits for physical confirmation (a nod) from Ed. Ed gets to decide if physical intimacy (the kiss) is happening. The implication (that so many people glossed over apparently) is that if Ed had given any indication (physically or verbally) he did not want this to be happening, Stede would have backed off and apologized. Ed and Stede deeply understand each others body language and know which cues to watch for.

Ed is not used to having his boundaries and desires respected. He is not used to being seen as a full faceted human being whose wants and needs can be put first. The bar is six feet deep and Stede soars above it with simple easy kindness.

[narcissistshandler]

not a request and please don't feel pressured to respond, but I need to talk to someone about levi with a sub!reader and I think you're just the right person (I love your works)

I can't help but think that levi is naturally inclined towards power and that the idea of submission might be strange and perhaps even disgusting to him, so he might feel that his relationship with reader would be complicated and unbalanced (the reader being physically taller and intimidating than levi). So what a good surprise it would be for him to discover that despite the impressions, reader simply accepts Levi's imposition and, as if this had been expected from the beginning, naturally falls into the position of submission.

Just levi with his short stature and sharp tongue parading reader around as if they were an obedient guard dog for their owner. He is amused by the reader's absolute submission. Just imagine if the reader was so passionate and submissive, willing to do anything to serve and please and be useful that as soon as Levi commands (not at all seriously) that you instead of talking use your tongue to clean his boots; you obey, without hesitation. Levi would be caught off guard, of course, but the sight of your tongue licking wet stripes on his dark boots, your eyes sparkling, and the little sounds of delight you make is enough for him to smile and relax, ready to test exactly how far your willingness to please go.

what a magnificent mind you have, anon. Sorry for disappearing, life is crazy and honestly, I've been too lazy and tired to write anything. (tw: sub!reader, dom!levi, gender neutral but reader is taller and stronger than levi, boot licking, enthusiastic consent, cock warming, implicit rimming (levi receiving), light breath play, foot worship, footjob, humiliation, pet play (?))

He immediately slumps against the chair, dark eyes watching as you diligently work to carry out the order. The initial disgust that hits him disappears under the excitement of your obedience, the leather glistening under your wet tongue, your knees on the dirty floor. His breathing quickens and when you look up and say you're done cleaning, there's a noticeable tent between the captain's slender legs. The air grows thick between the two of you. What else could Levi make you do?

Levi will certainly take advantage of your disposition. It ranges from basic everyday things, '[name] clean the table', 'eat this', 'I think you've had enough, no more spending money on nonsense', 'iron the clothes again. I can still see the wrinkles from here' (he says for the third time while watching you work), 'go to sleep, it's late' — he says, looking exasperated and exhausted after you spent the entire day trailing after him like a lost puppy. He commands you with a tone that leaves no room for questioning, not that you would do anyway: the Captain's orders are absolute.

And it goes beyond that. He expects you to fall on your knees at his feet as soon as he sits down in the chair behind the desk, ready to start working or on the couch, after finishing. He doesn't speak out loud, just expects you to know that this is what he wants from you. Levi loves the intoxication of power that is having you on your knees for him, your tall, muscular body so much bigger than him, your hands that were big enough to completely wrap around his waist. You could use the height difference to impose yourself over him, fight him, but you didn't, you just naturally accepted your position at his feet, serving him.

And Levi is very happy about it.

You become his pet, his guard dog, docile behind closed doors. The Captain's lapdog.

He uses your mouth for hours on end, letting his cock rest on your tongue, pushing down your tight throat. Sometimes compliant, Levi doesn't punish you when he ends up with his cock and pants drenched in your saliva, though he does make you lick him clean after. He sits on your face and makes an attempt to smother you with his small body, sweaty balls over your face, your hot breath hitting his thighs and ass. Your murmurs are silenced, there is no struggle in your body. He likes to push your limits. Levi immediately gets hard when he sees the lack of resistance in your body, even with the muscles, the huge hands, the training that wasn't useful just for killing titans.

And he allows you to kiss his bare feet, lick his toes and use the friction of his soles to pleasure yourself — you whimpering and begging, asking for permission to come only with the painful pressure of the boot heels digging into your throbbing member. Even when he says you are disgusting there is a smile on Levi's lips.

And when he finishes and showers you with the compliments, and a lot of 'you did well', 'good job, soldier' and 'now tell me what you need', makes it all even more worth it. But even without the rewards that followed, you were still willing to worship him completely and let him use you to the point of exhaustion. He could break you, humiliate you, use you however he wanted.

Such a good little puppy you were to your captain.

[carto0ncritter]

I wanted to address some of the points your previous asker made https://www.tumblr.com/carto0ncritter/766355644544696320/i-just-want-to-say-that-i-personally-disagree-with, but I kept getting bogged down in the quagmire of it all. In the end I gave up and just let it be long - apologies for the wall of text but I'm tired of seeing the fandom repeat talking points similar to IRL apologia whenever someone isn't a perfect enough victim for them.

1 A fixation on "if Blitzo could say no in this or that specific instance, that 'proves' every other yes was freely given"

This line of argumentations fixated on the idea that if Blitzo wasn't shaking with fear and unable to refuse Stolas every time, he must have felt safe and able to consent every time. But there's a wilful disregard for how the deal works - the basic arrangement is Blitzo gives Stolas the book on the full moon and then they have sex.

The times Blitzo feels able to say no either fall outside that arrangement (Ozzie's being a one-off night out where Blitzo STILL felt the need to apologize for not wanting sex which doesn't say much for how safe he feels to refuse, and dragged a hand over his face when Stolas started talking like he was dreading dealing with Stolas trying to make a move on him) or because Stolas himself gave Blitzo an out. Blitzo wasn't taking months off until Stolas gave him the option, because it's Stolas who holds all the power and what he says, goes. We don't see Blitzo demand a night off and Stolas hand it to him before then - Blitzo phrases it explicitly as Stolas giving him nights off from 'having to' (i.e. a mandatory chore he has to do when asked) sleep with him.

Likewise all the texts show this same dynamic - once s2 happens Stolas is trying to get Blitzo to want to voluntarily spend time with him but Blitzo explicitly says in one text 'It's ur night' because that's how it's worked until now and he had no reason to think otherwise; the deal hadn't ended yet so Blitzo believed the terms were still in effect.

Side note - there's a specific mention of a shot during All 2 U when Blitzo - according to OP - refuses to stay after sex, proving he can say no. First off, saying no only counts if it's before sex, not for cuddling. Again, cuddling falls outside the deal.

And more importantly, I'm wondering if this is the shot being referred to:

https://64.media.tumblr.com/306e7f801fff142d57bee633abdfa9c6/90d50e1d22f5b44b-e8/s400x600/c03e4f8a2f96de0cc9c7add6749cc1e367187d90.jpg

If so, it boggles my mind anyone would use this as 'evidence' that Blitzo could always say no.

Really look at this shot: Blitzo's eyes are narrowed to slits and he looks furious & degraded. It's hard to tell if Blitzo is angry because of the sex he was just forced to have, or he's angry because Stolas is trying to get more out of him while he's trying to leave. Either way I don't see how anyone can look at that expression and think 'there's a man who just had sex/was asked to have sex he's totally enthusiastic about!' Any other show, any other fandom, this would be universally understood as a depiction of the moment right after coerced sex i.e. rape. If there is a single instance of Blitzo not wanting to do it but feeling like he has to, then that is rape. Period. Kill shot. End of discussion. No amount of 'he said no one time/he enjoyed it one time' fixes that or 'proves' all of them were fine. Consent is a case by case basis.

2 Blitzo had other options besides the Grimoire

This feels unrelated tbh; it's edging into 'well Blitzo could have done something else so having sex extorted out of him is his fault!' But to respond quickly:

The crystals existing doesn't mean Blitzo understood 100% how they worked or if he'd be able to use one (he says 'a what now?' or something when Stolas gave him one) or if it was a succubi-only thing and he has no reason to assume Ozzie would just hand him one (especially not once he knows Fizz works with him). By comparison Stolas had a book about them in his library all along apparently, is a prince on friendly terms with Ozzie so in a way better position to ask and had more incentive not to want to risk his book. But he didn't because he knew he could use his book to get sex.

Likewise saying Blitzo could just do Hell assassinations ignores what little worldbuilding around the economy there is. It's well established assassins doing Hell-based missions are more common while offering to kill Earth targets is a USP that brings in a steady client base that helped Blitzo found a business and rent an office (both things it's repeatedly said imps don't normally do). Stolas was under no obligation to let him keep the book, of course, but no one was forcing him to make a favors for favors deal to get sex out of Blitzo (and s2 adding Asmodean Crystals makes the idea that he didn't want to hurt Blitzo's business look 100% false: his only motivation for quid-pro-quoing this is unambiguously to get sex; him framing it as 'supporting' Blitzo is self-aggrandizing narcisstic nonsense).

3 Blitzo is shown wanting sex and wanting Stolas back in Full Moon/Apology Tour

This is a thing the writers like doing - backfilling stuff that should have been shown way earlier in order to rewrite the story into anything they need it to be that second.

S1 Blitzo's attitude to Stolas alternates between repulsed, indifferent and enjoying the power he has over Stolas by being the dominant one. He straight up glares at him like he despises him after Stolas yanks on his face in Truth Seekers (not to mention the chain vision implies he feels trapped and degraded). S2 Blitzo just seems…idk, annoyed by him some of the time? They don't exactly get on better. Then Oops backfills Stolas is being a totally nice person on the phone now and Apology Tour tries to insert flashbacks to stuff we should've seen in the show - i.e. Blitzo actually enjoying his company. Inserting the good times after the two characters have a falling out is totally backwards - we need the actual care and attraction establishing beforehand, not after. Stolas laughing at some of Blitzo's jokes and Blitzo worrying Stolas can actually get hurt is such a bare minimum floor for a ship

As it is the change is so abrupt it's just as easy to argue Stolas has made Blitzo believe all he's good for is sex (and he's panicking because Stolas has cut him off twice now without attempting to talk things out or apologize for any of his demeaning, objectifying behavior, which would make anyone think they aren't even good enough to exploit anymore and that they deserve to be mistreated without explanation) or that Stolas ending the arrangement just set off his abandonment complex. That and trauma bonding is a thing that could definitely happen with a 'relationship' as toxic as this one. Putting it short, the writing is so poor that even though they obviously want us to think Blitzo actually likes Stolas it's kind of hard to tell what he even likes about him or when it started.

4 The closing point

So the original post ends on "it's pretty clear that Blitzo at no point felt coerced into having sex with Stolas, and the people that claim otherwise I have good grounds to believe aren't even watching the same show anymore."

On some level that's true, because Helluva isn't the same show anymore.

Season 1 opened with an episode where Blitzo couldn't give informed consent to Stolas' deal because his life was in danger and his business was being threatened, and Stolas knew all of that. He could see Blitzo was injured and hear the gunshots along with Blitzo whispering and telling him repeatedly to get to the point. He took a hurried 'fine, whatever!' as consent.

He ignored Blitzo telling him not to hit on him at Loo Loo Land (multiple times) - the fact Blitzo seemed legitimately worried Stolas would try to 'diddle his holes' while Stolas' daughter was there speaks volumes to just how safe he felt around Stolas. Harvest Moon has a similar arc - Blitzo takes Stolas' invite in good faith and in return gets demeaned in front of a crowd of imps. Once again he feels so disrespected by Stolas by the end of the episode he explicitly mentions the 'thirsty owl onstage' as the reason why he didn't go to the harvest moon ceremony and had Striker not hurt M&M, he probably could have persuaded Blitzo into joining him. He feels so safe around Stolas, apparently, that when Stolas asks for a reward after saving him he immediately assumes Stolas expects Blitzo to pay him with his body - something which Stolas immediately agrees to. All this culminates in the season finale where he uses Stolas to get into a club and is surprised when Stolas tries to talk to him like a person for once. He's never done that before.

But the damage is done by then. He drops Stolas off, looks desperate to be able to leave when he thinks Stolas is going to try and get sex out him (like always), then tells Stolas all he wants is for Blitzo to fuck him and he makes that really clear 'all the time'.

But what in a decent show would be a condemnation of Stolas' behavior because Blitzo did feel coerced into sex at several points (read: the whole first season, actully) was in fact the writers trying to make the viewers feel sorry for Stolas - a fact that's only come into sharper and more awful focus the more they double down on making Stolas the saddest prince to ever exist in s2 and throw everyone else under the bus to do it.

Finishing off, there's really only one thing I can say left to anyone still insisting the writers aren't trying to retcon the rape ship that they wrote. And that's this:

What Stolas has done to Blitzo is the definition of quid pro quo sexual coercion.

To quote from a source:

https://www.wmlawyers.com/oakland-sexual-harassment-attorneys/eeoc-definition/quid-pro-quo-harassment/

“Quid pro quo” literally means “this for that” in Latin. Quid pro quo sexual harassment occurs when employment, pay, benefits, title, position or other opportunities for advancement or training are conditioned on the submission to unwelcome sexual advances. Whether the harassment is explicit or implicit, it is illegal.

Read that again - when employment is on the condition of submission to unwelcome sexual advances. That's literally what the deal is - Blitzo keeps his job if he sleeps with Stolas. And as we've seen in most of s1, the advances are unwelcome. Even if Blitzo had been more enthusiastic from the start, his job would still depend on keeping Stolas sexually gratified.

A dynamic like that is always going to be prone to abuse no matter how many 'but Blitzo enjoyed it this one time!!' caveats the writers stick on it, because if he had a day where he wasn't feeling into it he would feel obliged to hide his feelings and sleep with Stolas anyway because his livelihood literally depends on it. That isn't informed consent. And this rhetoric is pernicious and should go the way of the dodo

THIS

[lakewithnofish]

it's frustrating to me that people seem to earnestly and in good faith think analyzing louis in a feminized position ignores or obfuscates race. as if the collapses and contradictions of the public and domestic spheres were not the bread and butter of the first season and as if extralegal marriages between women of color and european men were not part and parcel of french and spanish colonies and as if that past didnt linger over 1910s new orleans...behind those "don't forget about race" posts is the implicit belief that a subject cannot be racialized and gendered at the same time. which is crazy like i'm sorry that's insane. Obviously i understand the difference between LDPDL and betty draper that doesn't change their shared positionality in their respective nuclear family units? and relatedly it's also crucial that louis coveted the private feminization and that's part of his blaming himself for claudia's death and his own abuse. i'm really not sure how else we're supposed to read him describing his forced and blissful submission to lestat in 1.1 as "black tar heroin" or him mimicking that posture with armand in 2.6 but in the lestat role and that being the hollow basis of his argument to claudia that armand belongs to him rather than the inverse. yes i am aware femininity and bottoming and submission are all discrete things but between the above and the culminating mother and child painting at the end when louis resolves to live honestly, to live the immortality lestat gave him as a gift-- the text clearly . CLEARLY shows that they are not discrete for louis. also like these takes are saying he cant be an innately feminine person because that would mean he innately wanted to be abused / racially subjugated. When thats what louis said to himself for 77 years and unlearned at the end of the story?

[coolestork]

Of obedience and silence.

Perturabo x Reader

-

Note: The idea of Perturabo taking joy from the little cruel interactions with his favorite serf had me GNAWING at the bars of my enclosure.

Warnings - Toxic power dynamic, Dub-Con, Implied sexual themes.

-

The light was sparse in Perturabo’s chamber, as always; he preferred the dimness, the sense of sanctuary it gave him. A mechanical hum filled the silence, whispering to him as he worked, precise strokes of calculation etched on fragile data-slates as if they were paper. And there she was, quietly standing at his side, a figure of silent obedience, his serf.

She had been with him for some time, a fixture in his life of iron discipline and rigid control. At first, she had been nothing to him but another loyal subject, a thing molded by his demands, made to serve him without question. But as the years passed, something within him twisted, molding itself around her. And now, her downcast eyes, the slight tremble in her posture – they sparked something in him. He felt himself leaning into the thrill of it, into the dark satisfaction at seeing her nervous, wondering what she had done wrong this time.

“Tell me, Y/N," he said slowly, his voice heavy, “do you ever resent the role you play, so willingly beneath my heel?”

The question hung in the air, leaving her stricken, her expression uncertain. There was the faintest flicker of distress in her eyes, which she quickly masked with bowed submission. “My lord, I exist to serve you as I am commanded. I could not resent it.”

Perturabo smirked, though it was humorless. “Lies. A good serf doesn’t lie, does she?”

She paled, and he felt the gratification ripple through him. The power he had over her, the way her world seemed to rest on his word – it stirred something he had once dismissed as weakness. He leaned closer, his eyes fixed on her face, catching the subtle fear beneath her exterior.

“What use are you to me if you cannot even be honest, hmm?” He spoke slowly, enjoying the way she squirmed beneath his stare. “Perhaps I should reassign you, find some other creature with the will to serve me honestly.”

Her lips parted, a silent plea hidden in her gaze. She had grown attached to her place here, he knew. And the thought of losing it, losing him, made her ache with desperation.

“Please, my lord,” she whispered, her voice quivering, “I only wish to please you.”

The words tasted sweet, and he allowed them to settle before responding, knowing that every moment of silence filled her with unease. He savored it, the weight of her fear mingling with her desire, the way she would lower herself again and again if only to have his approval.

“Then prove it,” he murmured, his voice cold as he spread his legs. He didn’t need to spell it out; the command was implicit, a game of cat and mouse in which she was ever the cornered prey. And yet, some part of him, the part he rarely acknowledged, wished to keep her close, to keep her his. No one else could know the twisted pleasure of this dance, he thought to himself.

As she whispered her affirmation, her voice trembling but resolute, he felt something tighten within him – a cruel, possessive satisfaction.

And slowly, she approached his chair and knelt.

-

Note: SOMEBODY SEDATE ME 🗣‼️

I left it implicit because I'm still a little new to writing for WH40K, and I'm low-key trying to figure out how to write p0rn featuring primarchs or astartes. Their size makes logistics kinda complicated BUT there is a lot of kinky potential with these beings bc they are kinda Fucked Up and there is so MUCH to do with the authority they inevitably have. ANYWAY, if you have any suggestions on who I should write my first smut about, let me know.

[justafewberries]

re-reading catching fire and suzanne collins really has been beating us over the head with implicit submission since day 1 huh

[hungergamesbookclub]

Inspired by an 18th century Scottish philosopher and the modern scourge of misinformation, Suzanne Collins is returning to the ravaged, post-apocalyptic land of Panem for a new “The Hunger Games” novel. Scholastic announced Thursday that “Sunrise on the Reaping,” the fifth volume of Collins’ blockbuster dystopian series, will be published March 18, 2025. The new book begins with the reaping of the Fiftieth Hunger Games, set 24 years before the original “Hunger Games” novel, which came out in 2008, and 40 years after Collins’ most recent book, “The Ballad of Songbirds and Snakes.” Collins has drawn upon Greek mythology and the Roman gladiator games for her earlier “Hunger Games” books. But for the upcoming novel, she cites the Scottish Enlightenment philosopher David Hume. “With ‘Sunrise on the Reaping,’ I was inspired by David Hume’s idea of implicit submission and, in his words, ‘the easiness with which the many are governed by the few,’” Collins said in a statement. “The story also lent itself to a deeper dive into the use of propaganda and the power of those who control the narrative. The question ‘Real or not real?’ seems more pressing to me every day.”

Suzanne Collins on her new Hunger Games novel, Sunrise on the Reaping

[lintwriting]

How to Write a M/M Romance: Scum Villain's Bingqiu

Where Masculinity and Teacher/Student Intersect

Teacher Student Romance is the APPEAL, NOT a Plot Convenience

Easily the most problematic part about Scum Villain (beyond the dubcon papapa to save the world) is the teacher/student relationship baked into the main romance of the work—the one between Shen Qingqiu and Luo Binghe. Not only is it pervasive, it's not even brushed aside for the reader to forget about, the way the problematic aspects of other medias often are.

In fact, unlike the way age is brushed aside in fantasy dramas that have "teenage protagonists" for marketing reasons, such as The Vampire Diaries or Re:Zero, where the age is only there to draw in a teenage audience and otherwise the characters act like young adults, Scum Villain's Teacher x Student is purposely highlighted in a way that makes it clear that the dynamic is part of its main appeal.

For one, Luo Binghe's main form of address for his romantic partner is "Shizun," calling him teacher in a super respectful, almost worshipful way. This is the opposite of weakening the unbalanced dynamic. It's elevating the Teacher/Student power imbalance (in ways that make the reader suspect it's a kink thing for Luo Binghe LMAO).

For two, Shen Qingqiu is cognizant of how bad it looks to be called Shizun in a romantic context, feeling textually weirded out when it happens during romantic relations. Despite this, most of the ways he shows affection to Luo Binghe are very paternalistic (milf-coded), such as scolding him in fond exasperation or kissing him on the forehead like a father. In addition, Luo Binghe is specifically noted for not having older male authority figures in his life other than Shen Qingqiu, as his adopted mother was a single woman and his bio father could not care less about the son his late wife gave up her life for (seemingly for no reason, BUT I'll get to that in a different meta) (AND despite ample evidence that he CAN be a good father to Luo Binghe's cousin).

And while one aspect of it is that the Shizun/disciple dynamic is a genre-wide trope thanks to the influence of the early work, The Return of the Condor Heroes, wherein the Confucian taboo of the teacher/student romance is a source of tension and excitement within the novel, I wouldn't say that that's the whole of why Scum Villain (SVSSS) emphasizes the teacher/student romance.

Why are We Hot For Teacher: Return of the Condor Heroes vs Scum Villain

For one, within Return of the Condor Heroes, the romance is between a male student and a female teacher (because it's a het novel, lol), but SVSSS is a BL novel and wouldn't necessarily need to play into such tropes to create this "taboo"-evoking tension.

A lot of BL novels already play into the way being gay is marginalized or frowned upon to accomplish this, for instance, SVSSS's author's latter work, Mo Dao Zu Shi (MDZS) (The Grandmaster of Demonic Cultivation), wherein the main character has compulsory heterosexuality.

For two, the dynamics of the Return of the Condor Heroes is playing with heteronormative ideas about the roles of men and women in romance. It's notable that the student is the male lover, and the master is the female lover in this relationship, playing with non-traditional ideas about who is submissive and who is dominant—while simultaneously using it to reaffirm traditional pursuer/pursued dynamics.

This male pursuer/female pursued dichotomy is not usually explicitly stated within media as that can seem sexist and clunky, rather it is usually implicit and portrayed through various contrivances. Xiaolongnu is a "cold beauty" who therefore must remain pure/aloof, which is accentuated by her role as a teacher, and while she is "dominant" as the teacher setting the terms for their relationship, it's mostly to emphasize the lengths that Yang Guo, the student, would go to pursue her. He becomes extra romantic for pursuing her while accepting her lead on choices like separating for 16 years.

In addition, the teacher/student relationship is a contrivance that affirms society's implicit bias about gender by giving textual, non-gendered excuses for the man to pursue. In this case, it would be an abuse of a teacher's power for Xiaolongnu to make the first move. Thus, traditional gender dynamics where men are the ones pursuing women are reaffirmed without making clunky statements about gender, even through nontraditional dynamics like a teacher/student relationship where the woman is dominant.

But, again, SVSSS is a BL, so the two main characters are both men, meaning there is no societal answer on who should be pursuer and the pursued. However, it is notable that SVSSS does play with this same dynamic of "cold, aloof teacher" and student who would go to extreme lengths to pursue them, while also purposely describing Luo Binghe as the "peak of masculinity."

This is where we start getting into SVSSS's intersection between Masculinity and the teacher/student relationship.

Because while although Condor Heroes uses the teacher/student relationship to affirm the heteronormative dichotomy of the male pursuer/female pursued, SVSSS's usage of this dynamic is in service of satirically demonstrating the "acceptable" avenues of affection when living as a man (since there's no women, and they're both men lol).

Teacher/Student Romance as a Way to Escape Restrictive Masculine Gender Roles

Teacher/student dynamic is a huge aspect to SVSSS because it’s a way to escape the masculine gender roles critiqued within the work. This is on the face of it obvious. Shen Qingqiu lets Binghe act bizarrely clingy under the assumption that he’s merely taking care of a filial or needy child. The understanding that "masculine men have to be straight" and the understanding that "Binghe is the most manly person within the novel as the stallion protagonist" intersect to ensure that any affection between them is strictly platonic, which is a double edged sword.

Because Shen Qingqiu allows Binghe close to him with the reassurance that Binghe HAS to be straight (a surprisingly common way for straight men to interact), that means that as Binghe ages, his access to affection will also get cut off, since he's supposed to be aging out of the role of a clingy student and into the role of stallion protagonist.

This is even grafted onto the scum villain/protagonist dynamic, as exactly at the point where Binghe's on the cusp of becoming an adult, Shen Qingqiu is forced to be the opposite of affectionate and become the villain by throwing him down into Xianxia hell. Which, to him, means that he's killed his baby student and replaced him with a stallion protagonist out to take him out.

So when Binghe becomes an adult, he loses access to affection along two axises within Shen Qingqiu's mind. The first being that he's now vengeful stallion protagonist out to get him throwing him away, which is the explicit reason Shen Qingqiu rebuffs him. And the second being that he's now a straight adult man who isn't supposed to get affection from his old teacher, which is also a factor.

This loss and transformation into a protagonist causes him to become insane to almost comical proportions, indiscriminately killing people and so distraught that at any point he's liable to self-destruct—all because he's constantly being rebuffed when seeking affection from his teacher, who thinks he wants to take him out for throwing him into hell. It's notable that any time Shen Qingqiu rejects him, Binghe lashes out in an almost stoic anger, rather than with the vulnerable crybaby tears that Binghe used as a kid. All this is highlighting the consequences of toxically masculine gender roles—where a severe lack of emotional vulnerability creates only violence and status as ways to express yourself, leading to severe emotional issues.

Now this is where it gets to the satirical aspects. Because all that before is pretty angsty and not very funny, but Scum Villain is a comedic satire. This is because it's not from the perspective of Luo Binghe—it's from the perspective of Shen Qingqiu.

The Point of Scum Villain's Meta

To all of this, Shen Qingqiu is totally oblivious, as he is still under the impression that everything was platonic. Which I'd argue he SHOULD be, considering that Binghe was a young student in his care that he was only trying to groom into being nice, person not into a sexual relationship 💀💀. Now, the ethics of fiction about raising your spouse is a whole other issue outside of the scope of this discussion, but within the universe of Scum Villain, where we know his intentions, he gets the pass from me!

The reason Shen Qingqiu is oblivious is because one, as the most terminally online hater on the Internet, he's read about stallion protagonist Luo Binghe way before transmigrating into the story. And the Luo Binghe of the original story was a miserable sack of shit who got an unhappy ending despite being the peak of what masculinity "should" be.

A harem of women to show his virility, a stoic facade, and a constant stream of face slapping for hundreds and hundreds of chapters. He's an alpha male to the point of farce because Airplane needed to appeal to the lowest common denominator of teen boys on the internet—Andrew Tate's main demographic. It's not just a satire of YY novels—this, too, is part of Scum Villain's critique of toxic masculinity.

The second reason Shen Qingqiu is oblivious is because he's homophobic, sexist, heteronormative, etc. etc. etc. He was an INTERNET TROLL for a reason. And while people like to joke that he was a feminist king on the forums, I feel like it's more in line with the themes of the story to take him reading this schlock at face value because it's part of Scum Villain's trap! Anytime you feel like complaining about Scum Villain's hack writing, you're one meat bun away from an uno reverse card. The instant you start complaining, the author can hit you with a "Cucumber-bro calm down," and BOOM you're done! Never comment again!

And this is so effective because none of us want to be an un-self-aware, terminally online, trash-reading hater like him.

So, the satire of the novel is taking this kind of guy—both the Andrew Tates of the world and his basement dwelling followers—and wondering "Would gay sex fix them?" And the answer is YES, WHICH is HYSTERICAL to play straight in a romance like this. It's "Fellas, is it gay to like women?" but make it into an actual romance.

On a thematic level, being gay is indeed antithetical to a masculinity that upholds having sex with tons of women as the ideal, so it's doubly poignant for this closeted gay man to realize that the only thing he needed to do to live was to accept himself and the people around him by giving up his need to fit them into boxes—both on a meta "they're not fictional characters to him anymore" level, but also on a "toxic masculinity shouldn't define us" level.

Climaxing

The old Shen Qingqiu is dead. Long live Shen Qingqiu. Gay sex to save the world. Luo Binghe is back to his crybaby self. All is well in the world.

One thing I love about this teacher/student romance that it portrays Bingqiu afterwards as really happy and in love. Logically, nothing about that makes sense — 45 year old stepfather marries 25 year old stepdaughter from a bad home who idolized him, even while he acts like he's embarrassed to be around her and encourages her helplessness—but it makes perfect sense because it's a perfect marriage between all these different layers.

The "bird leaving the nest" conflict

Qingqiu is allowed to be affectionate with a scary adult Binghe because Binghe can be both a clingy student and an adult

2. The scum villain/protagonist conflict

Binghe never wanted to kill Shen Qingqiu, only to be loved by him.

3. The comphet conflict

Binghe never intended to go out and get a harem of women as a sign of masculine status, he just wants to be gay with Shen Qingqiu.

4. The "should I treat them like real people or fictional characters" transmigrator conflict—

Binghe is a real person separate from the character of Luo Binghe because he's no longer that unattainable masculine ideal—he's human and happier for it.

All solved with a student/teacher relationship in service of critiquing toxic masculinity. Now that's economical writing!

(I love the inclusion of the original Luo Binghe meeting them in the Extras, and that Luo Binghe is pretty evenly matched with him. I feel like the idea that someone "is automatically stronger with the power of love, and therefore that's why love is better" is pretty shallow, as it plays into the toxically masculine idea that strength is all that matters. Luo Binghe may not be stronger than the toxically masculine ideal version of himself, but he doesn't feel the need to be because he's happy the way he is. And his ideal self is jealous of him for that—not vice versa.)

On their own, these resolutions would probably still feel as creepy as Lolicon, but in the context of critiquing masculinity, it makes a lot more sense. Masculinity, I think, fascinates as a writing tool because there's a lot of mini tools baked-in its structure, like Shen Qingqiu's comedic plausible deniability thing, as well as assumptions about power.

For instance, since Binghe is quite literally the God-emperor of his world, it feels more like a kink thing for him to call Qingqiu Shizun, and not like he's actually less powerful than Shizun in their dynamic. His bouts of learned helplessness come off as traditionally feminine Sajiao, NOT like the learned behavior of creepy pick-me pedophilia. It's like a cat showing its belly, because we all know it's a murder machine showing its vulnerable side out of trust, not because it feels the need to degrade itself. So, while his behavior emphasizes the Teacher/Student imbalance, the reality is that he's doing it mostly for kinky reasons and that the two of them are on a pretty level playing field. It's extremely funny when people joke that he and Qingqiu are the same age due to all that time Qingqiu spent dead, because they are Not Wrong.

Problematic Kinks

Romance fiction is usually about ways to get certain needs met in ways that would never be possible in real life, which is why a lot of it is problematic. Virginity kink is not about real life virgins, but the idea that your partner is guaranteed to think you're competent in bed. Bodice ripper stories do not reflect the reality of getting raped, but is more about the idea of getting sexually satisfied with none of the shame of "being slutty" for desiring sex, since it was "against your will." Or they're about controlling the fear of getting raped within this safe romantic fantasy where everything turns out all right. Or various other things because kinks are personal.

Shen Qingqiu is the perfect example of this, where he functions as a great insert for female readers who might have shame around sexuality, since he's a "prude" without actually being one, hence his parallel with Xiaolongnu. Instead, he's just comedically under the misconception that he's straight or that Binghe's only platonically in love with his teacher—that's why he's always ashamed and putting on airs. It's a comedic/unrealistic version of comphet, so you don't gotta think about purity culture while reading your silly little stories.

And Luo Binghe is the self-insert fantasy of readers with daddy issues. His strict father who criticized him all the time actually secretly thought he was the bestest-westest, most handsomest boy in the whole wide world, and there was a secret understandable reason he had to be mean to him, and he secretly loves when he acts like a crybaby because that just means an excuse to pamper him.

And while in real life, many of these would be incredibly dysfunctional—within fiction, we can make these fantasies work anyway. If your romance manages to hit at one of these underlying desires in a fantastical way, you've got a hit with one audience of people! Whether that be by making them EVEN MORE dysfunctional (papapa to save the world) or by having them somehow communicate it out into a healthy dynamic (the extras, presumably).

All this to say, if you're a man frustrated with your love life, all you need is a gay, milf-y male teacher to ruin your life.

[aalghul]

Out of curiosity, do you have strong opinions on Jason’s current suit/costume? Is there one we’ve seen in the past that you prefer as opposed to others?

I really like Jason’s Under The Hood suit/costume with the helmet and no signal on his chest — I think it’s a badass-but-not-trying sort of look and just. Classic but also I will say I Hate The Crowbar schtick he’s got going on right now

Anyways, I love your analyses and reading your thoughts! I hope you have a good night/day/timezone.

hiiii, of course i have strong opinions about that! Jason has so many boring outfits that say absolutely nothing that it hurts me. Why is he essentially just wearing a work out outfit so often. He's not boring enough for this.

Let's start off with the original under the red hood outfit. chef's kiss. a perfect reflection of his relationship with identity: entirely standard and impersonal, with the exception of the helmet in reference to his murderer. It's the ensemble of a spirit come back to taunt, not a living person conveying some present sense of themself. The lack of individuality here is the intention and its purpose is to ensure he doesn't stand out, except wrt the helmet.

I especially like that it's just a slightly upgraded version of what he was wearing at the end of lost days, which is just jeans and a jacket. once again: nothing flashy because he doesn't need a separation between jason todd and red hood; jason todd is red hood and red hood is just a temporary specter meant to dissipate after his planned confrontation.

note the lack of batsymbol! i'm also a believer in it having no role in jason's costume. it is crucial that utrh jason has no such thing to mark him. his only visible connection to who he was is the mark of his murderer.

and since you asked about weapons (or, the crowbar lol), i'll briefly mention that i like how versatile he was! bring back his knives. RN.

so ugly. my god. and no i don't just mean the helmet in the n52 version. The grey is so drab, the brown jacket says nothing, not a single thing about the suit is complimentary with anything else except the red in the symbol and the red in his helmet. The symbol existing is ridiculous because no amount of "irony" excuses how ill-fitting a choice it is. A stylized red version of the bat-symbol is worse than the original symbol because he's reaching a compromise within the design itself that's just not reflected in reality? It's completely one-sided at best, and more often a symbol of implicit submission. How degrading. but more importantly it is just so ugly. my god. (though i do enjoy the thigh holsters.)

a moment of shame for the ugly monstrosity on the left. what the hell man.

onto the right: okay whatever. A sleeveless Jason costume will never work for me because he's too paranoid for that, sorry! Knee high boots are a cool concept, but I wish they looked less...like children's rubber rain boots? Something a little less chunky would fit Jason's movement. Those are literally just regular cargo pants. Once again, the symbol has to go. I've tried to warm up to the hand wraps but I just do not like them under the gloves, and Jason would not (and should not) leave out the gloves. The hood is stupid! Nothing else to say there. (also: crowbar user! ew.)

okay. what even are you. i don't even have a strong dislike for task force z but i did not enjoy looking at this thing. (again: crowbars. ew.)

[caesarflickermans]

Why Plutarch Heavensbee is the likely protagonist of Sunrise on the Reaping

Plutarch embodies SOTR’s propaganda theme

“With ‘Sunrise on the Reaping,’ I was inspired by David Hume’s idea of implicit submission and, in his words, ‘the easiness with which the many are governed by the few,’” Collins said in a statement. “The story also lent itself to a deeper dive into the use of propaganda and the power of those who control the narrative. The question ‘Real or not real?’ seems more pressing to me every day.” (AP)

Plutarch’s character embodies the themes of propaganda and controlling the narrative. He understands that it is “moves and counter-moves” (CF, 32:20). In his foil against Snow, he laid out a plan to destroy Katniss’ image through overexposure on TV, thus employing propaganda to control the image of a growing rebellion he secretly wanted to foster (CF, 32:35).

This understanding is in line with David Hume’s first principles of government, where he states that “the governors have nothing to support them but opinion” (Hume, Of the First Principles of Government). Plutarch understands this, as his plan of rebellion is based on influencing the opinion through the images shown to the TV audience.

His expertise continues in Mockingjay, where he lays out his plan in the shape of “propos--which is short for 'propaganda spots'--featuring [Katniss], and broadcast them to the entire population of Panem” (MJ, 3). Katniss recognises him as the mastermind behind the production, and sees a resemblance between these actions and his role as the Head Gamemaker (MJ, 8). At the end of the war, Plutarch’s expertise grants him the role as secretary of communications, in line with his previously gathered experience (MJ, 27).

When Hume speaks of “the implicit submission, with which men resign their own sentiments and passions to those of their rulers” (Hume, Of the First Principle of Government), it is Plutarch Heavensbee who mirrors this understanding and informs Katniss about it in the shape of Panem et Circenses; “Panem et Circenses translates into 'Bread and Circuses.' The writer was saying that in return for full bellies and entertainment, his people had given up their political responsibilities and therefore their power.” (MJ, 16). The fact that this is Plutarch who views the Games as such appears pivotal enough that Collins mentions him in reference to the quote:

SC: But there’s a dark side to bread, too. When Plutarch Heavensbee references it, he’s talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in the Hunger Games. (Scholastic, 2018)

Suzanne Collins’ previous interest in Plutarch

But when I step back and look at the series, she's not the character that I would identify most with. [...] This is such an unflattering thing to say about yourself, but it would be Plutarch Heavensbee. [...] Because he's the head gamemaker. Plutarch is creating the story, and he's creating the arena, and he's manipulating the characters--a writer isn't far from a gamemaker. I'm not for creating arenas or anything, but if you look at it from a creative perspective, we're really doing the same job. (times, 2013)

Suzanne Collins’ interest in Plutarch has culminated in the 10th Anniversary interview, where she makes frequent references to him, such as speaking about the reason why he was motivated to rebel. This indicates that Suzanne Collins has had deeper interest in Plutarch as a character and has an extensive backstory for him:

SC: Plutarch is the namesake of the biographer Plutarch, and he’s one of the few characters who has a sense of the arc of history. He’s never lived in a world without the Hunger Games; it was well established by the time he was born and then he rose through the ranks to become Head Gamemaker. At some point, he’s gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. Plutarch has a personal agenda as well. He’s seen so many of his peers killed off, like Seneca Crane, that he wonders how long it will be before the mad king decides he’s a threat not an asset. It’s no way to live. And as a gamemaker among gamemakers, he likes the challenge of the revolution. But even after they succeed he questions how long the resulting peace will last. He has a fairly low opinion of human beings, but ultimately doesn’t rule out that they might be able to change. (Scholastic, 2018)

Not only is Plutarch the character linked to propaganda, but he is further juxtaposed with Snow, the first prequel protagonist. In this interview abstract, she places these two characters at odds, potentially indicating that Plutarch can be seen as an antithesis to Snow:

DL: One of the things that both Snow and Katniss realize is the power of media and imagery on the population. Snow may appear heartless to some, but he is very attuned to the “hearts and minds” of his citizens . . . and he is also attuned to the danger of losing them to Katniss. What role do you see propaganda playing in the war they’re waging? SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. (Scholastic, 2018)

Fitting as a future protagonist

YA protagonists are aged between 14-18 (Writer’s Digest), which Katniss (16-17) and Coriolanus (18) fall into. Thus, SOTR’s protagonist is unlikely to be someone older like Tigris, Snow, or Caesar. If the casting choice was representative of Plutarch’s age, he is within the fitting age range during the 50th Hunger Games.

A Gamemaker would offer a new perspective unlike the previous tribute and mentor point of views. Potentially, Plutarch could serve in the role of a junior or intern Gamemaker in between the Capitol’s High School (Academy) and College.

Suzanne Collins has hinted at several potential plot points that might be addressed in the prequel, such as:

At some point, [Plutarch’s] gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. (Scholastic, 2018)

What was that point? What motivated him to wish to end the Games?

Like Snow, [Plutarch’s] been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has. (Scholastic, 2018)

When and why did Plutarch realise he needed a “Spartacus to lead his campaign”? When did this campaign begin? Who else was a possible candidate?

“[...] They never planned on anyone using it as a weapon. It made them look stupid that he figured it out. I bet they had a good time trying to spin that one. Bet that's why I don't remember seeing it on television. It's almost as bad as us and the berries!” [...] “Almost, but not quite,” says Haymitch from behind us. (CF, 14)

Was Haymitch’s “almost” rebellion perhaps the original inspiration for Plutarch to organise a rebellion through the arena? How did they try to spin his act? Was he the first possible “Spartacus”? Was there perhaps more to it that only the Gamemakers and Haymitch know about? Was footage manipulated or adjusted? Was the live show already manipulated or only later footage? How do the Gamemakers control the narrative? Will there be any insight helping us understand why the Gamemakers acted the way they did for the 74th Hunger Games?

Plutarch Heavensbee has been, for several years, part of an undercover group aiming to overthrow the Capitol. [...] We are currently on a very roundabout journey to District 13. (CF, 27)

Who was part of this group? How did he get in contact with District 13?

"Tigris," she says. "We need help." [...] "Plutarch said you could be trusted," adds Cressida. Great, she's one of Plutarch's people. / Tigris. Deep in my brain, the name rings a bell. She was a fixture--a younger, less disturbing version of herself--in the earliest Hunger Games I can remember. A stylist, I think. I don't remember for which district.  (MJ, 23)

How did Tigris and Snow fall out? How did Tigris become one of ‘Plutarch’s people’? Did they perhaps meet when Tigris was still a stylist and what was her life like then? Which Districts did Tigris work for?

"No. My mother and younger brother. My girl. They were all dead two weeks after I was crowned victor. Because of that stunt I pulled with the force field," he answers. "Snow had no one to use against me." (MJ, 12) / The crew hurries inside to edit the material, and Plutarch leads Finnick off for a chat, probably to see if he has any more stories. (MJ, 12)

Why and how was the decision made to kill Haymitch’s family? Did any people within the Capitol die due to Haymitch’s force field trick? Some that Plutarch might have known—possibly giving a personal motivation for rebelling against Snow?

Others begin to die off and it becomes clear that almost everything in this pretty place—the luscious fruit dangling from the bushes, the water in the crystalline streams, even the scent of the flowers when inhaled too directly—is deadly poisonous. (CF, 14) / A clock. I can almost see the hands ticking around the twelve-sectioned face of the arena. Each hour begins a new horror, a new Gamemaker weapon, and ends the previous. (CF, 23) / He made sure the wire was among the weapons. Beetee was in charge of blowing a hole in the force field. (CF, 27)

Were the arenas intended to be parallels to one another, seeming paradises until the true threats were revealed? And was the usage of the force field as the final act to destroy the arena an intentional parallel to Haymitch’s rebellious act?

As far as I know, Haymitch has only been here once, when he was on his Victory Tour decades ago. But he must have a remarkable memory or reliable instincts, because he leads us up through a maze of twisting staircases and increasingly narrow halls (CF, 5) / And finally, how our mentor, Haymitch Abernathy, betrayed us both for a cause he pretended to have no interest in? (MJ, 2)

Will we learn why Haymitch knew the Justice Building in 11 so well? Could a young Plutarch perhaps have accompanied him on the victory tour who knew the place? Was this tour perhaps the beginning of their plotting together against the Capitol—with Plutarch trying to convince Haymitch to trust him?