#it just feels so...obvious to me

[veliseraptor]

this feels like a post i've made before but i'm just thinking again about how there was a period of time where i was like "i really enjoy the thematic beats that mxtx seems to be obsessed with and what they say about the world and relationships between people but i feel like sometimes she could stand to be a little more subtle about it, how obvious do you really have to be about 'revenge and violence are bad for everyone and regardless of how 'justified' they may be it only leads to more suffering, only kindness and compassion can make things better'"

only then i come online and apparently it turns out it wasn't obvious enough

[hinamie]

corvidae

[shouyuus]

18+, college roommate!vi cinematic universe thigh-riding, questionable vape-usage, oral (vi receiving), smut with a fluffy ending

"s-sweet fuck, pretty girl -- j-just -- just like that --"

you let out a soft whimper, rutting your hips over her flexed thigh, whining as she leans back, a palm resting on your waist, the other clutching her hot pink vape, bringing it up to her lips for a long hit before tugging you down, blowing the dragonfruit-flavored smoke into your mouth.

you suck in, tasting the bright tang of the vape smoke as your pussy clenches, your clit throbbing as you chase your orgasm, grinding down over vi's leg as she groans thick in the back of her throat, her eyes dark and hazed out as she watches you with parted lips.

"like -- like that?" you ask, your voice high and desperate even as vi bites her lips, letting her head fall back against the wall of her room, her cheeks high with color as you reach down and wedge a hand between your bodies, slipping your fingers under the waistband of her boy shorts to thumb clumsily at her clit. she keens, fingers digging into your waist as she jerks you against her, your juices now so sticky on her thighs that it squelches every time you rut your hips forwards and back.

"fuck -- yeah... mm --" she shifts, hoisting you further up just to meld her mouth with yours, licking into your mouth as your pace stutters and you groan, fingers clutching at her shoulders, her biceps, steadying yourself on her arms as she kisses a harsh line down your neck, sucking a deep hickey into the junction of your throat. "shit, you're so -- so hot, so pretty--"

"vi -- vi -- m'so close --" your lashes flutter as you feel the familiar twist in your gut, the warm already spilling through your limbs.

she chuckles, "c'mon princess --" she tugs on your chin, blowing another puff of smoke in your face, smirking when your breath hitches, "look at me -- wanna see your face when you fuck yourself stupid on my thighs --"

the tension in your belly snaps, your whole body shaking as your orgasm rocks through you. and vi -- she guides you through it, groaning out long and low as she feels you twitch over her, your cunt squeezing around nothing as you ride out your own orgasm against her. you eyes flicker but she keeps you upright, forcing you to look at her even as the edges of your vision fizz out into white sparks of pleasure.

she kisses you as you come down, grinning at the way you whine when she pulls away for another hit of the vape, opening her mouth as you press back in, your fingers finding the soaked folds of her cunt, pressing in, her kissing you as smoke wreathes out the corners of your mouths. you trade the same breath back and forth till you lose count, till you can't figure if the sweetness is the smoke or just the tingling addiction of her mouth on yours.

"mm... wow, princess -- that was --" she hiccups as you press a line of sloppy kisses down her neck, the pale, lamp-kissed bend of her shoulder, the small divot between her breasts, pausing to lave your tongue over her nipples, the piercings there cold as you suck them between your soft lips. your revel in the way she gasps then, the way her fingers bite into your skin.

you reach up wordlessly to tug the vape from her slack fingers, her eyes half-lidded and alight with a loose, liquid hunger as she watches you work down the length of her body.

"you're so wet, vi..." you murmur, pressing a kiss to her hipbone, smiling up at her as you tug on the waistband of her boyshorts. she lifts her hips, her cheeks darkening as she clears her throat.

"yeah well -- 's not like you can blame me -- oh shit --"

her head thunks back against the wall as you dig your nose into the thin trail of hair that leads to her sopping folds, the slick there glistening in the wane light. you only allow yourself a second to admire her before bringing the vape to your lips and sucking in a breath of the synthetically sweet smoke, and then you're lowering your mouth to her and pressing your tongue into her slow, moaning long and loud, your eyes fixed on her face, watching for the twitch of her lips, the slack in her jaw.

"jesus christ -- mm-mngh --!"

you fight back a grin as she whimpers, her thighs tightening on either side of your face. her fingers dig through your hair as she forces her eyes open to look down at you, an open, needy expression on her face that you doubt she'd willingly show to anyone else. but the knowledge that you can bring her to such pleasure quickens your own pulse and drives you forward as you give her clit a hard suck and she keens again -- that gorgeous, high, helpless sound even as she presses you harder against her folds and jerks against your face, guiding you into a rhythm that suits her needs.

"fuck, fuck, fuck princess --" she lets out a string of incoherent swears as you feel her shove your face into her harder and harder, and all you can do is offer up your mouth, your tongue, anything and everything you can till she shakes apart above you, her release coating your lips and dripping down your chin.

you lap at it hungrily, savoring the salty-sweet-tang even as she finally relaxes her thighs and you manage to pull yourself up for a breath. your face is sticky, and honestly, so is she, but her laughter is warm when she tugs you up to give you a lingering kiss.

your head is a smoke-filled euphoria of half-formed thoughts as the pair of you collapse, boneless, sweaty, and sated onto her messy sheets. she kicks off her boyshorts, leaving her just as naked as you already were as she curls around you, her arms solid and strong, yours curled against her chest, your fingers splayed over the smooth expanse of her skin, tracing abstract shapes as you turn to face her.

"you got somethin' on your face there, sweets," she says, rubbing at thumb down your slick-covered chin. you crinkle your nose, turning to wipe your face messily against her bicep even as she laughs.

"mm... why didn't we do this sooner?" you ask, curling into her, your faces inches apart.

"what, this like -- smoke each other out and have amazing, mind-blowing sex?" vi asks, grinning.

you giggle, shaking your head, "no! i mean -- well, yes, but like... this.." you reach out and cup her cheek, the touch so gentle it stills you both.

vi sighs, shrugging, "dunno, cupcake. i -- i guess i was caught up in..." her eyes cast about her room, the band posters and hand-scribbled workout notes tacked to her wall, "in wondering if you -- if you felt the same about me, i just..."

you purse your lips around a burgeoning smile, "you just... forgot to ask me?"

vi scoffs, rolling her eyes, "yeah, yeah, whatever. we get it -- you had to make the first move but --" her eyes soften, and so does her voice, "at least we're here now, right?"

"mm," you nod, inching closer, "and we've still got another six months left on the lease."

"six months is a long time," vi says, her voice husky as she rubs a thumb along your cheek.

"yeah... plenty, if we're trying to make up for lost time but..." you hesitate over a held breath, "what happens after?"

"after... we both graduate?"

"yeah."

for a moment, vi's silent. and all around you, the future stretches out like the moonless night, tendrils of shadow reaching like spindled fingers into the unknown future.

"after that... i go wherever you go, cupcake."

you blink, eyes meeting hers, a startled spark of uncertainty rising within you.

"you..."

vi smiles, a crooked, honest thing of lips and teeth. she hooks her ankles around yours and presses your foreheads. her hand comes up to caress the back of your neck.

"if you think i'll ever let you go again after all that... you've got another thing comin', princess."

you let out a relieved laugh, leaning in for a kiss.

"right. i guess the orgasm really was that good, huh?"

vi laughs too then, a soft, breathy sound.

"sure. but really... i mean it. i'm yours, cupcake. for as long as you'll have me."

your lashes flutter; your heart skips. then, you're the one pulling her in for a kiss, one that's sweet as it is consuming. the skin-scalding simmer of a long-burning flame, a spark catching hold on a breath of summer wind.

"i might not be a theoretical physicist, but from what i've heard, forever is a really long time," you say. and vi, to her credit, only takes a second before understanding blossoms in her eyes and she pulling you to her, crushing you in a stomach-turning embrace.

"you're my everything, princess. you know that?"

you bury your face in the crook of her neck and breathe her in. the room smells like sex and sweat and the soft perfume of your shared shampoo. you grin, a giddy heat pluming up your chest to coil at the back of your throat.

"and you're mine, vi."

vi puffs out a breath, her voice just a tiny bit shaky as she cradles your head in her palm.

"yeah. i know, sweets. i know i am."

[placesyoucallhome]

Size/Height difference poses

I love height differences aesthetically, but posing them can sometimes be a pain! So to cater to those that also struggle with posing smols and tols, I have a few options-

Meant for art of any type and ask memes, for drawing, writing, photography (like gpose!), ect. Gender nonspecific and for any sort of relationship type, romantic, platonic, and antagonistic!

[isan0rt]

I'm doing my first reread of the back half of Dunmeshi, having forgotten a lot of the details of what happened because I read it all so fast (three days for the whole manga from start to finish) and damn. This panel from chapter 54. This fucking panel.

I'm sure I'm late to the party here and someone else has already talked about this but this panel is just. This whole sequence is just such a stark illustration of who Kabru is when the chips are down. He's out of his element. His plan to get the people out of the dungeon safely failed catastrophically in a way he (naively) didn't predict, but the Canaries did, and planned ahead for in exactly the way that is the most upsetting to Kabru personally. He's being actively retraumatized at this very moment by the panic as people flee, as people get poisoned outside Pattadol's barrier.

And he still saves this man.

He doesn't know this guy! He had never seen him before in his life. Everyone else in that crowd was already too late to save. But this guy wasn't! This guy wasn't, and Kabru put his neck on the line to rescue him without hesitation. His first thought was for identifying the person still trapped so he could be rescued. He didn't think for an instant about his own safety. The instant concern is not an act! Look at his face!

He didn't have to save this man... Except that he did, because of who he is as a person. There is no innocent human life that is disposable to Kabru, despite what the red herring of his reaction to the thieves at the beginning was. This is who Kabru is.

[knightingale]

The "Sansa reminds Sandor of his sister" motive that some people try to hitch to his character really just flies in the face of his actual attachments to her, doesn't it? Sansa reminds Sandor of himself. He sees the little boy who used to love knights in this girl who's been swept up by the same romanticism. He sees his abuser in her abusers, the much larger knight(s) beating on the helpless child. He sees how she is betrayed by every level of authority that should have saved her and remembers his father's neglect and Tywin and Robert's apathy for Gregor's crimes. He's protective of Sansa because he was Sansa.

And GRRM's design, that one of the strongest warriors in the series, a fearsome and cynical 6'8" guy who's "muscled like a bull" and has the face of death itself, sees himself in this soft and effeminate teen girl, and empathizes with her because he was an abuse victim too, is INFINITELY more compelling than "Oh yeah I bet she just reminds him of his sister," who he's never mentioned and who we know literally nothing about. Way to unnecessarily water down a character, you couldn't have ignored the black and white text more efficiently if you tried.

[capquinn]

Sunday | Q. Hughes

summary: A lazy Sunday morning... pairing: reader x quinn hughes content: nothing but tooth rotting fluff word count: 1k ↪masterlist

⋆⋅☆⋅⋆

“You’re staring,” he murmurs, his voice low and a little raspy from sleep, but there’s a hint of amusement in it.

A smile tugs at your lips as your fingers brush a stray lock of hair away from his forehead. “Just admiring."

⋆⋅☆⋅⋆

The morning light slips through the blinds, casting soft, golden stripes across the room. It dances on the walls, wrapping you both in a warm, quiet glow. It’s the kind of light that only comes in the last days of summer, when the air feels just a bit cooler in the mornings, but the days still stretch long into the evening. There’s something almost ethereal about the way it floods the space, filling every corner with a peaceful stillness.

You’re both wrapped in the tangled mess of white sheets, limbs entwined. Quinn's chest rises and falls in a slow, steady rhythm, the gentle warmth of his skin brushing against yours. The world beyond the window might as well not exist; here, in the cocoon of soft linens and golden light, it’s just the two of you, wrapped in the last days of lazy summer, sheltered from the chaos of life outside.

You glance up at Quinn, his face half-buried in the pillow, hair slightly tousled and falling in soft strands across his forehead. The sunlight dances on his face, illuminating the faint freckles scattered across his nose. His expression is soft, radiating the kind of peacefulness that only comes when you know you don’t have to be anywhere else but here. His eyes are still heavy with sleep, lashes casting gentle shadows on his cheeks, but there’s a contentedness in the way he looks at you and a lazy, easy smile playing at the corners of his lips that makes your heart flutter.

You shift a little closer, pressing your cheek against the pillow and propping yourself up slightly on your elbow. Your hand moves instinctively, fingers tracing the outline of his jaw, feeling the slight roughness of stubble that’s grown in over the weekend. He leans into your touch, his eyes fluttering closed briefly before opening again, meeting yours in that sleepy, comfortable silence.

“You’re staring,” he murmurs, his voice low and a little raspy from sleep, but there’s a hint of amusement in it.

A smile tugs at your lips as your fingers brush a stray lock of hair away from his forehead. “Just admiring."

His brows quirk, but he doesn’t say anything, just watches you with a curious gaze. The warmth of his eyes pulls you in like it always does, the mix of green and hazel almost impossible to decipher. They’re mesmerizing... The way the morning light catches in his irises, turning the hues of green and hazel into something almost magical. They shift with the light, as if the exact colour of them depends on where you’re standing, or how close you are.

Luckily, you’re the only one who gets to see them this closely.

That thought makes your heart swell. This quiet intimacy between the two of you, tucked away from the world in the soft glow of the morning. His eyes, those incredible, ever-changing eyes, are just for you in this moment. A warmth blooms in your chest, a sense of comfort and belonging that’s almost overwhelming in its simplicity.

“You have such pretty eyes,” you say softly, the words slipping out without much thought.

A faint blush creeps across Quinn’s cheeks, and he shifts slightly under the covers, glancing away for just a second. His reaction is almost bashful, as if no one’s ever said something like that to him before.

Quinn opens his mouth to respond, but then closes it again, a soft chuckle escaping him instead. His cheeks flush a deeper pink, and he buries his face in the crook of your neck, his breath warm against your skin.

“Stop,” he mumbles, his voice muffled, laced with that shy, nervous laughter. His arms tighten around you, pulling you closer until you’re pressed up against him.

You laugh lightly, brushing your fingers through his messy hair as you feel the heat of embarrassment radiating off him. “I’m serious,” you whisper, leaning in just a little, your lips brushing the shell of his ear. “They’re like... impossible to figure out. Sometimes they look green, sometimes hazel... So pretty.”

He groans softly in protest, his face still buried against your neck. “You’re just saying that.”

“I’m really not,” you insist, your voice playful, trying to keep the moment light. You feel the soft rumble of his laughter against your chest, his body vibrating with the sound. “They’re beautiful. You’re beautiful.”

His breath hitches slightly at the words, and for a moment, he just stays there, his face hidden in the curve of your neck, as if he’s too shy to even look at you. But then he shifts, lifting his head just enough to press a soft kiss against your collarbone. His lips linger there for a second longer than usual, his lips warm and tender against your skin, as if he’s gathering the courage to speak.

“I don’t think anyone’s ever said that to me before,” he admits quietly, his voice barely above a whisper.

You smile, your heart swelling at the softness of his confession. “Well, then they’ve clearly never looked at you the way I do.”

He glances up at you finally, his eyes catching the light again, and for a second, neither of you say anything. There’s no need to. The moment is so simple, so mundane in the grand scheme of things, and yet it feels like the most intimate thing in the world. Just you, him, and the quiet of a lazy summer morning.

Quinn’s lips curve into a small, shy smile, his face still flushed as he leans down to press his forehead against yours. “You’re ridiculous, you know that?”

“Maybe,” you murmur back, your fingers brushing lightly over his arm. “But I’m right.”

He laughs again, this time a little more freely, and pulls you closer into him until your legs are tangled together beneath the sheets once more. There’s no rush to move, no urgency to do anything but just be. You have this one last weekend together before everything picks up again — work, hockey, life — and for now, that’s more than enough.

[cheesenchalk]

i never know how to phrase it but something about the way beatles biographers and people in general view paul's reflexive placating persona and determination to smooth things over as manipulative or duplicitous and john's reflexive barbed persona and habit of lashing out as brave and subversive despite both being equally defensive mechanisms to shield themselves from the world that resulted in them saying things that weren't true says more about how we culturally view kindness or friendliness as inherently untrustworthy or flimsy and anger and carelessness as more believable as someone's true nature than it says about either of them in actuality

[secretmellowblog]

On the subject of the Titanic ‘submersible’ that was lost in the deep with all its wealthy tourists— it’s so insane/eerie in hindsight to read this article from the Smithsonian that interviews the CEO Stockton Rush long before the disaster.

Despite the Smithsonian supposedly being an organization that cares about science and truth, and the fact that there were SO MANY obvious red flags from the beginning and so many people criticizing the company…..the article is a puff piece uncritically glorifying the CEO’s obviously terrible submersible project. It compares him in glowing terms to Elon Musk. It is an article about how private ventures like those of Stockton Rush and Elon Musk can and should be the future of the world.

We’ve obviously learned now that there were whistleblowers at the company who were warning for a long time that Stockton Rush’s submersible was unsafe— only to be fired and then sued. It makes sense the submersible was so unsafe, because the CEO in this interview is open about how he has no background in underwater engineering and is annoyed by quote “regulations that needlessly prioritize passenger safety.”

Soon after, the private [submersible] market died too, Rush found, for two reasons that were “understandable but illogical.” First, subs gained a reputation for danger. Working on offshore rigs in harsh locations like the North Sea, saturation divers, who breathe gas mixtures to avoid diving sicknesses, would be taken in subs to work at great depths. It was the world’s most perilous job, with frequent fatalities. (“It wasn’t the sub’s fault,” says Rush.) To save lives, the industries moved toward using underwater robots to perform the same work.

Second, tourist subs, which could once be skippered by anyone with a U.S. Coast Guard captain’s license, were regulated by the Passenger Vessel Safety Act of 1993, which imposed rigorous new manufacturing and inspection requirements and prohibited dives below 150 feet. The law was well-meaning, Rush says, but he believes it needlessly prioritized passenger safety over commercial innovation (a position a less adventurous submariner might find open to debate). “There hasn’t been an injury in the commercial sub industry in over 35 years. It’s obscenely safe, because they have all these regulations. But it also hasn’t innovated or grown—because they have all these regulations.”

The fact that Stockton Rush (who was piloting the submarine when the disaster happened) is on record complaining about the evils of regulations that prioritize people’s safety, and the Smithsonian uncritically regurgitated that rhetoric in their glowing puff piece about how rich tycoons like Elon Musk and Stockton Rush are going to save the world is just…..in hindsight of how everything ended it’s just so much horrible black comedy? It’s like a satire about the dangers of uncritically worshipping the rich.

It is mentioned in the article that Rush chose to make his submersible in a different shape, and with a different (cheaper) material than is usually used for submersibles. The article frames this as a result of daring innovation, and not of negligence/ignorance. This passage in particular, which in context is supposed to portray Rush’s critics as joyless naysayers who were proven wrong by the noble tycoon, is pretty foreboding in hindsight:

Rush planned to pilot the sub himself, which critics said was an unnecessary risk: Under pressure, the experimental carbon fiber hull might, in the jargon of the sub world, “collapse catastrophically.”

And then!!

The exact problem that happened to Titan this weekend, happened on Titan’s very first test voyage to the Titanic! The experimental carbon fiber hull had an issue and it caused communications to break down!

The dive was going according to plan until about 10,000 feet, when the descent unexpectedly halted, possibly, Rush says, because the density of the salt water added extra buoyancy to the carbon fiber hull. He now used thrusters to drive Titan deeper, which interfered with the communications system, and he lost contact with the support crew. He recalls the next hour in hallucinogenic terms. “It was like being on the Starship Enterprise,” he says. “There were these particles going by, like stars. Every so often a jellyfish would go whipping by. It was the childhood dream.”

Both Rush and the article writer treat this as a fun quirky story, instead of a serious safety failure and red flag with his experimental macgyvered regulation-flaunting submersible.

Other highlights from the article include:

Stockton rush saying that if 3/4 of the planet is water, why haven’t we monetized it?

Stockton saying we will “colonize the ocean long before we colonize space”

Lots of weird pro colonialism stuff in general??? This article loves colonialism and thinks it’s cool

Rush saying he plans for this to eventually help find more underwater resources for the US to exploit and profit from

Elon musk comparisons. The article writer does not mention that Elon Musk’s rockets explode and therefore it would be a bad idea to get in one of them, because that would imply it’s a bad idea to get into the submersible

Stockton rush seeing himself as Captain Kirk

The article writer comparing the tourists who plan to join Rush to Englishmen who went on colonialist journeys to Africa as if that’s like, a good thing. So much pro colonialism stuff in this article

So many sentences about Stockton Rush being handsome when he literally just looks like some guy

The article beginning with an editor’s note from years later disclaiming that the extraordinary submersible they’re advertising in this article is uh. It’s now uhhhh

But yeah it really does just bring home how so many organizations that supposedly care about scientific truth or journalistic integrity are willing to uncritically platform propaganda for wealthy CEOS. It’s frustrating how easily people fall for the fake myths that careless wealthy people invent for themselves, and even more frustrating that supposedly respectable institutions will platform irresponsible lies that end up getting people killed.

Rush is such an obvious and simple example of this, and his negligence is “only” killing five people including himself. But to me it feels like a cautionary tale to bear in mind when it comes to uncritical puff piece media coverage of similar “daring tycoon innovations” by people like Bezos or Musk.

[secriden]

There's something so wondrously momentous about Style only saying his "I love you" now, when he realises that all the secrets he was keeping from Fadel are already laid bare.

He says this a significant time after Fadel has said his (and, in the context of the wider narrative, after Kant and Bison) and for the character we have seen as prone to glibness, exaggeration and flippancy with his words, that feels incredibly intentional.

Because this confession was the only truth Style had left to give.

Fadel is finally done playing his (poorly thought out) game, done with his (already cracking at the seams) charade, done with giving Style more opportunities to pull at his heartstrings with his earnestness lies.

Fadel is demanding the truth, and tells Style exactly what truth he wants to hear.

And the thing is, there is truth in this: Style's motivations at the start were wrapped up in a deception specifically targeting Fadel.

I know we, as a fandom, harp on about Style "doing all that for a car", but something I would like us all to revisit is what Kant actually says to Style when he first asks Style to "hit on" Fadel:

Kant: You need to help me. You know I don't usually feel this way about someone. And then shortly later, after Style refuses: Kant: Hey, hold on. (Kant grabs Style's hand.) What do I have to do to for you to help me out? Should I pay you?

(Please forgive my inability to gif and watch Style's reaction to this.) Style is visibly surprised and intrigued. Kant seems to be serious about this request, and I think Style decides to test just how important it is to Kant by asking for the one thing he knows Kant will not give up.

Just look the expressions on Style's face. We didn't have the context of knowing Style back then as well as we do now, but this is the look Style gets when he's throwing out a challenge (to Fadel), when he's trying to ferret out some new insight (from Fadel), when he wants to see how someone (Fadel) will react to whatever outlandish (provocative) thing he's said or done.

And when Kant agrees, Style even checks again if Kant is serious about going through with it -- and it's this that convinces Style of the sincerity of Kant's request.

Yes, the car was a factor, and yes Style also wanted revenge and to humble Fadel, but at the centre of Style's motivation has always been a plea for help from a friend.

In episode 1: Kant: Under one condition. You have to make him head over heels in love with you. Style: I'll do it. Not just for the car, but someone like him needs to be humbled by someone like me.

But in agreeing to help Kant, Style really was damning Fadel to play the fool because Fadel's feelings (his heart) was a commodity that Style was fully willing to play with back then.

And there are aspects of truth here too. When Kant tells Style about Fadel (and Bison) being hitmen, Style decides he's done and wants out. Kant reasons that it's more dangerous for Style to break up with Fadel now, because it would look suspicious, but crucially this isn't enough to convince Style.

So Kant, once again, makes the plea to friendship and to his need for Style specifically, and it is this that causes Style to finally cave.

But in doing so, the things that Style agrees to are:

Kant: Work with me. Help me get more information about them. Once we get that, it's done. Captain puts them in jail, and we walk free.

So while Style may not be directly working with the police, he is working with Kant who he knows is working with the police. By proxy, Style is involved with the police, but in front of the empty pool, he makes it clear to Fadel just what that involvement actually entailed:

Style: Kant asked me to take you out so you could leave him alone and he could freely investigate. Fadel: What did he get out of it? Style: I don't know! That ain't my business! All I was asked of is to take you out.

And this, too, actually is true! Since finding out, Style has literally not discovered a single thing that could be remotely useful to the police investigation:

He's found out that Fadel likes to gym at night. He's found out that Fadel uses tenderloin in his burgers. That he runs in the morning before going to the market. That he attends a grief support group.

But these were all things Kant also already knew and could have given the police if it were in any way useful for the investigation.

Even his attempts to get Fadel to confess to his "other job" (something the police also already know) were clearly in service of wanting to save Fadel and/or convince him to give up the life of crime in the hopes that Fadel wouldn't have to be sent away from Style to prison.

But the truths are tangled up in misunderstandings and Fadel's own assumptions now; and also further tainted again by Bison's own hurt over Kant's betrayal. And Fadel literally cannot see -- because his eyes are filled with tears [see: @thisautistic's gifset + my tags] (good grief, Joong, the actor you are) -- the honesty Style is bleeding from the marrow of his bones.

Because the truth is that along the way Style has also found out that Fadel is a good older brother. That Fadel is still hurting and bleeding inside because his parents were murdered. That Fadel wears his favourite bands' make up in secret because he cannot bear the thought of other's judgement. He's found out that Fadel misses Style, wants Style, and hates himself for it. That Fadel is afraid to love. That Fadel is acutely aware of his own darkness and cannot comprehend an existence that would not involve someone (Style) rejecting it. That Fadel does not believe that 100% trust is possible, but that he will get himself drunk so that he can offer Style as much vulnerability as he can physically make himself give.

Because the things that Style did find out were all the ways Fadel's heart is soft and tender and precious and worthy worthy worthy of all the love Style has to give.

And Style will stand firm on this truth because this is the only thing he has left to give Fadel.

Because Fadel knows, now, all the ways Style was unworthy of his trust, but crucially has not figured out the most important truth:

Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. -- Quoted from my meta post on the "One day, I'll be your 100%" line.

And as I alluded to in the tags on @yinwaring's insightful post: Style fully embodies the belief he espouses; because even in the face of a gun to his head and Fadel threatening to kill him if he will not admit that this, too, is a lie, Style refuses to give Fadel anymore dishonesty.

And this is because Style knows that the truth matters; now more than ever.

Because Style has had days to grapple with his worry after Fadel's disappearance. Style has had a week's worth of checking the diner only to face the regret he feels about not handling things differently. Style has had to recognise the terror of thinking he had lost something he never even knew he wanted in the first place.

And while Fadel had his realisation back in episode 4, Style never had to face this until Fadel vanished from his life and left a gaping hole in the shape of the absence of Fadel's smile.

So if this is what it takes, if this is the penance that Fadel demands of him, then it is a price Style is most happy to pay.

Because Fadel does not realise is that Style, too, now knows what it means to lose a love worth fighting for.

And in the war Fadel now feels compelled to wage against Style (because, yes, that's definitely still going on), the one damning thing Fadel has failed to recognised is that his only true weapon was leaving Style behind.

Which is why Style has already won. Not because Fadel's walls have crumpled again or because they don't still have a ton of things to talk through and work out (they really, really do), but because Style has already been stripped bare (and I mean this literally, like we all recognise THAT was the reason why Dunk is only in boxer shorts in that scene, right?? Like, I know we were joking about it, but seriously, that was so very intentional and a visual representation of Style being both stripped and, most importantly, freed from the lies he felt compelled to tell Fadel) and this means he has nothing holding him back.

And Fadel can wield his gun and his words and his anger and his hurt, but Style will die on the hill of the truth that he knew and understood and chose to love Fadel anyway, and saved this last confession for when he knew he could tell Fadel the truth without any lingering deception; and when the time is right, when Fadel is finally ready, Style will be there to welcome him back with open arms and, without any hesitation, an open heart.

[fawn-tongues]

Safe Bet

[yardsards]

laios when his party needed more members:

[shitpostingkats]

The most important part of the Altissia chapter is when they're being questioned by customs and Ignis looks at their party of:

1) Him 2) A college age punk 3) A man wider and taller than a fridge wearing no shirt and with several enormous scars 4) The actual crown prince of a neighboring country, making no effort to disguise himself

and decides their best cover story is

"✨We are students of the culinary arts.✨"

And it works.

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[amanitacurses]

[nite-puff]

this was what their dr:s interaction was originally gonna be. trust me. i’m mr. danganronpa

(no cuz seriously. how are you gonna have them interact and then forget that hiroko canonically has a bit of a thing for takaaki?) (i say this like the dr:s writers even knew who the other captives were)