#it's a really fascinating mix of things

[ridl]

loop hero is so good and funny

[dykedvonte]

Can you talk about trans!Curly a little bit more? I'm curios if you have any headcanons and the like

-💀

It's just such a thing in my mind because it adds a truthful sadness and differing aspect to mouthwashing.

If Curly was trans it adds the horror of the horribly selfish thought he could have easily been in Anya's situation. It could've been him but it wasn't and he so conflicted on the pit it put in his stomach that brings and the shameful relief it wasn't. In this scenario he is friends with Jimmy for a long time still. Jimmy likely knew him pretransition. Maybe he gave Curly weird looks then, maybe they never stopped after, maybe they seemed meaner. They are guys now, bros, both of them are. He doesn't really have to worry what those looks mean anymore, Jimmy just has that face with him sometimes. It's recontextualizing a lot of things for him that he was in denial about or too ashamed to admit. How naive he was being and how he let that get another person hurt.

Specifically with Anya, it's he knows the dread and fear she's feeling. He can understand it because he had to live with it for a good portion of his life, he knows it cause he still does, just in a slightly different way. It makes him think of all the times he's been alone with Jimmy, all the times he's been way more drunk off his ass and not remember the night, Jimmy was always with him the next day. Makes him think of the comments he would laugh off both because that's what guys do but because that part of being a girl says to laugh so Jimmy doesn't do something. It's the selfish realization that he was never safe and he's uncertain now too. Mad at himself for forgeting that feeling, espcially since for a long time he would've been considered the only woman on a crew (with all that implies) for a long time.

He should've taken those blinders off, step back into that position for just a moment and it's so much more painful that Anya likely came to him because he should've gotten it. Those thoughts don't leave his mind after the crash when he's in an even more vulnerable position than she was...

[illegiblewords]

SOME ILLEGIBLE RAMBLES AND REFLECTIONS: ON GALE AND MYSTRA

I've been on the fence about whether to make this analysis specifically, but after seeing a few other discussions floating around figure it's worth offering another viewpoint in case it resonates.

These analyses in particular are very subjective and offer an interpretive option more than anything. I might allude to discussions I've seen elsewhere that I have different views from, but different views don't automatically mean personal dislike for me. Life would be boring if we all thought the same way, you know? Anyway. Hugeass post ahead, proceed at your own risk lol.

One of the arguments I've seen cropping up recently is the idea that romance between gods and mortals is inherently unequal, abusive, and problematic. I am very much of the mind that Mystra abused Gale. The developers at Larian have stated that every companion in Baldur's Gate 3 is a victim of abuse in some capacity. Some of my favorite romances over the years have been between gods and mortals. Mystra/Gale is not one of those. I think blaming the divine/mortal dynamic for any abuse misses the point. Moreover, it absolves Mystra of a huge amount of personal responsibility in the abuse she committed. I think it makes the abuse focus on what she is rather than who she is, how she looks at others, and how she treats others. I reflected on the divine/mortal pairings I've enjoyed compared to the dynamic between Gale and Mystra. In every divine/mortal romance I've loved, the god found wonder and saw a kind of power they lack in their mortal partner. This power stems directly from their mortality. There are experiences and perspectives specific to being mortal that are invaluable. The god doesn't relate to those experiences and perspectives the same way. The god always needs not only humility but equal respect for their mortal partner in some capacity. Additionally, the god acknowledges that being divine does not equate to omniscience. This is not a god according to the monotheistic definition. It's closer to an immortal being who excels in a very specific area and has certain responsibilities weighing on them. The god sees the forest but may no longer see trees, while the mortal sees trees but may not see the forest. There is value in what is ephemeral and fragile, just as there is value in what is permanent. The god and mortal need to bring balance to one another in the sense that the god helps the mortal find comfort in a bigger picture while the mortal reminds the god what it feels like to be small, vulnerable, and intimately connected to the world/other lives. A healthy divine/mortal romance requires recognition of multiple forms of strength, intelligence, and value. That very, very much is not what Gale and Mystra had. Another layer to the 'divine/mortal romance is always problematic' argument ties to questions of power imbalance. I would argue that even among human beings--power imbalance always exists. Human beings are not identical or interchangeable with one another. One partner might be brilliant at math and runs finances where the other partner would be lost. The other partner might be brilliant at people and can navigate social situations the mathematician would feel helpless in. One partner may be physically larger or stronger than another. The other partner has the full weight of social/legal support in most conflicts. And this isn't touching on issues relating to mental health, physical health, economic stability, societal issues, etc. People are multifaceted. None of us excel at all things, find power in all things, or suffer all things. We each have our own pains and triumphs. We each have the ability to hurt each other if we want to. If we wanted to avoid any power imbalance in favor of 1:1 equality, the only answer we'd have would be to literally romance ourselves . And that's 1) narcissism 2) lonely 3) sad. Just ask Raphael.

But unhealthy power imbalances must exist, right? And there is a horrible power imbalance between Gale and Mystra. I would just argue it has more to do with them personally than because of Mystra being a goddess. I'd argue that we should be looking at Gale and Mystra not as mortal and god or man and woman, but as people above all else with their own experiences/motives driving choices throughout the relationship. Examine the ways they look at and treat each other versus themselves. If Mystra was the mortal and Gale was the god, if Mystra was a man and Gale was a woman, I would not change my stance regarding where abuse was committed. Imo people get too caught up trying to make sweeping generalizations instead of focusing on the individuals and how they specifically interact. This in-mind, what are some examples of unhealthy power imbalance as I define it?

A character is physically and/or mentally incapable of participating with proper awareness of the situation, as a partner with equal respect and sway within the relationship.

A character is dependent upon the prospective partner for survival and cannot refuse them without fear of retribution or withholding necessities to survival.

A character is being systematically isolated and made dependent on their partner for all socialization and self-worth.

And so on. Hopefully you get the gist. What I do want to draw attention to though is that these examples offer room to include a variety of circumstances or dynamics within their umbrella. Ex. An underage character with an adult would easily qualify for the first criteria, but an extremely, non-functioningly drunk character would also count. So lets have a look at Gale and Mystra's situation in particular again.

Gale has, by his own admission, been involved with the Weave for as long as he can remember. He sees Mystra as synonymous with the Weave, and with magic. These are things he explicitly states within the game. Gale also has notable reactions to say, saving Arabella from being killed over the idol of Silvanus or Mirkon from harpies. With Arabella especially, the idea of being treated as unforgivable or deserving death for a youthful mistake is something he talks about as if he has some experience with it. And while this is a video game with limited character models, I'm going to estimate that the tiefling kids are probably somewhere between nine and thirteen. We know Gale has been stuck largely alone in his tower with the orb for a year or so. The orb specifically is something that happened when he was an adult, but the way he talks about Arabella with implicit personal identification of facing older authority figures as a young person who didn't know better... I don't think this is the orb alone troubling him. Minsc also has a dialogue option where he talks about how in Rashemen, boys with an affinity for the Weave were hidden away and he suspects it was to keep them from being preyed on by Mystra. Not men, boys. I've seen people try to argue that Mystra would have been indisposed/dead and unable to take advantage of Gale when he was a kid due to the broader Forgotten Realms timeline. I'm inclined to say in this instance, with all evidence in the narrative pointing to a particular arc and theme for Gale and Mystra's relationship, it's more likely that the timeline was something Larian chose to fudge in the interest of storytelling opportunities. The alternative would be that none of those dialogue exchanges meant anything. The narrative is weakened if those moments are made meaningless, and the characters become flatter and less credible without them too. If it comes between trivia and the emotional core of a story, I'd argue the core wins. Gale claims to have slept with other people before Mystra, but that a romanced character is the first person he's slept with after her. I personally suspect it wasn't a lot of prior experience, and he was pretty young when his romance with Mystra began. Additionally, while it's pure conjecture on my part--given how Gale reacts to the tiefling kids it would make sense to me if Mystra started grooming him when he was between nine and thirteen years old. Other people have shared analysis pointing to evidence that Gale unknowingly dual-classed and was a storm sorcerer originally, but was told he was purely a wizard and then had all of his sorcerous abilities eaten by the orb without ever knowing they existed. I do think it makes sense for Mystra to influence Gale as a potentially very powerful sorcerer this way to 1) get him to self-limit through wizard spells so he's easier to predict and control 2) be completely dependent on and devoted to her, starting as early as possible. (For the curious, sorcerer Gale theory is here and here. Very well-done imo!) In any case, Mystra absolutely has personal motive to do what she did, that has nothing to do with Gale personally. That it turned into grooming for a sexual relationship isn't a huge leap in light of her apparent mindset either. But lets take a moment to review that.

This is a really good recap setting up Mystra's situation. Karsus too, by the by. This second video here helps explain Mystra's own situation. My understanding is like this:

Mystryl was the original goddess of magic. Mystryl was a born-goddess rather than an ascended mortal goddess, which is important to note because both exist in the Forgotten Realms. Mystryl was neutral alignment. The Weave, magic, and those casting magic all tied into her divine portfolio. Divine portfolios reflect deities' jurisdictions and callings, which empowers them through use in the world as well as mortal worship. With all this in-mind, naturally it benefited Mystryl to encourage experimentation, devotion, and arcane ambition. The more spellcasters pushed the limits of magic, the more powerful Mystryl became too. This was when the Empire of Netheril came about, with its floating cities and its magocracies. Worth noting, eleventh level spells were being used at this point in time. Cue a bunch of aberrations showing up, called phaerimm. Cosmic horror monstrosities that sort of looked like if you combined grubs and lampreys then made them way too big. On the one hand they were ridiculously powerful natural spellcasters themselves. On the other, they could straight up detect, deflect, and eat magic at will. Incidentally they were also extremely hostile to other life forms. So them existing at the same time as Netheril caused some massive problems. The wizard empire was at war, struggling, and panicking. Karsus was a prodigy and the one most people were turning to for protection at the time. Karsus decided the best way to solve the problem was to become a god himself using the first and only twelfth level spell (of his own design) then get rid of the phaerimm that way. The spell specifically required the caster to replace a god of their choice. Karsus, being a wizard, thought Mystryl was the strongest divine force of all time and chose her. The first video explained very well, but it basically sounds like as a born-goddess--maintaining the Weave was essentially an autonomic process for Mystryl. Basically required as much thought as beating your own heart. It wasn't like that for Karsus. Karsus might have been the best wizard in the sense that someone might be the best marathon runner of all time, but if you take that marathon runner and then tell them they have to pump their heart manually from now on they're not just going to lose any future races they attempt--they might just die on the spot. Which is kind of what happened to Karsus. Karsus became a god of ambition along with magic, then lost his divinity to become a Great Old One instead. These days he's a stone stained in the gore of his dead people who speaks in fountains of blood. (One of the reasons I'm not enabling Gale in his quest to become god of magic, by-the-by.) Mystryl died because of Karsus's spell. Mystryl probably hadn't considered mortals, let alone the wizards who gave her so much power as a goddess, a threat to her personally before. An incarnation of Mystra (not Gale's Mystra) was born from the ashes of Mystryl to become the new goddess of magic. One of the first things Mystra does after basically reincarnating from Mystryl is ban mortals from using magic at level ten or higher. Mystra is now aware that mortals can challenge the gods and straight up kill her personally. She still needs casters using magic at high level to empower herself as a goddess, but it's a double-edged sword that can absolutely kill her. And to make matters worse... this Mystra also gets killed later. The Mystra we have now was a mortal woman (Midnight) who kept Mystra's name to avoid confusing worshippers, who'd been chosen by Mystra previously and ascended into that role. Midnight-Mystra, from the sound of it, also got killed for a bit and had to get saved by Elminster.

Like I said before, I do think there were some timeline blips going on for Mystra with Baldur's Gate 3. As long as she's died and reincarnated twice, her psychological state is cemented. How long it took her to come back and whether there were even more deaths than that is less important. I'd argue the key ideas we're supposed to take away about Mystra from this are that she is a goddess who 1) at this point is an ascended mortal who may have certain inherited memories or experiences from born-deities 2) is hyper aware that mortals can kill her 3) has been killed and reborn multiple times, not just by mortals but the very wizards she draws power from.

This is absolutely a shitty situation. It makes sense Mystra has complexes around it. It makes sense Midnight-Mystra would feel especially afraid when it comes to wizards seeing as she herself is a former mortal, so her position likely feels even more tenuous. The way she interacts with wizards and relates to her own position as a goddess is not as someone secure in her own power, but someone who sees anyone coming close to her level as a direct threat to her life. She needs casters to be strong to fuel her portfolio, but if they're too strong they can challenge her. So she is using whatever tools at her disposal to keep them beneath her while maintaining her own strength. It's also worth remembering that Mystra has no pretense of being good-alignment. Her motive in confronting the Netherbrain wasn't to protect Toril from mindflayers, but to protect herself personally from the Crown of Karsus and protect the Weave from the Karsic Weave. If magic as a force is in danger (as per the Karsic Weave) she might try to do something, but what befalls mortals is irrelevant to her. I'd argue she's 1000% acting out of self-interest for Baldur's Gate 3. And again--it makes sense given her position. It makes sense given the track record for gods in the Forgotten Realms.

So, if we go with the in-game implications that Mystra is supposed to have been active across Gale's life and was active when Minsc was running around a century ago (referenced in his comments about Rashemen protecting boys from Mystra)... what kind of relationship has Mystra built with wizards in particular? This is heavy speculation here but I'm going off of Gale's experience, Elminster's behavior, a point of notable cattiness from Lorroakan, and Mystra's motives.

I think Mystra encourages wizards to compete for her favor, both through their arcane power and on a personal level. She encompasses their entire world and dictates everything they are capable of by holding the Weave in her portfolio. Casters are nothing without her. She is fickle in her attentions, moving between wizard paramours and chosen so they constantly feel the need to prove themselves worthy of her love. As their goddess, they have no room to question her or ask for loyalty born of personal affection. Mystra does not care. She is inherently more than they are and ever will be, and unless they have something to woo her through her portfolio specifically there is no reason for her to stick around. They're lucky she gives them the time of day. Even if she can't literally, physically, personally prevent a wizard from interacting with the Weave--she can seriously screw with them while they do. Mystra's first post-Mystryl act was to blanket-limit the spells wizards could perform, remember? And BG3 Mystra was able to pluck the orb from Gale's chest at any time, whenever she felt like it. She just didn't. Lifetimes of work, dedication, study, and innovation are not ultimately credited to the casters who built themselves through their art but to Mystra. Memorized spells, arcane gestures, the interaction of components. She can make all of that so much harder. And she takes credit for any advancement a wizard makes. Origin Gale has lines with Minthara where he struggles to see himself as capable of anything without Mystra's say-so and needs to be reminded that she can't claim everything he has ever done through magic, and she hasn't managed to stop him yet. The fact that Gale himself, as Mystra's former lover, doesn't believe this initially and needs someone who very much is not a wizard to remind him says a lot about the dynamic Mystra set up with him and (in all likelihood) other wizards. So how does all of this fit in with the grooming point? Well, magic users are going to be much easier to psychologically control if Mystra starts taking advantage of them when they're still children and don't know any better. She needs to feed off of their strength with no risk to herself, so she needs to make sure they are can't even fathom turning on her. Maximize the power difference, ingrain that shit early. And if it becomes a sexual relationship... Mystra can tell herself they're even less likely to consider turning on her because it's just one more way they depend on her for validation.

Mystra's own fear and trauma (like Cazador's) does not prevent her from becoming an abuser. And like Cazador, she's using it to fuel the abuse she commits herself.

Something else I want to highlight before I segue to focus on Gale further, is how wizards deal with each other and why policy differs toward wizards versus other casters.

Wizards are nerds with shared interests. They're fucking around to see what's possible with magic and seem genuinely excited when anyone innovates. Innovation is something they can learn from and incorporate it into their own art. But actual wizard friendships, at least in Baldur's Gate 3, seem to be rare. They undercut each other emotionally and often look for ways to elevate themselves above their peers. Gale's colleagues left him to twist alone in his tower for a year. Elminster prioritizes pleasing Mystra by passing on her message for Gale to kill himself, and defends her if the player condemns Mystra's behavior. He even gets angry for certain dialogue options.

(It bears saying, I think Elminster has been psychologically wrecked by Mystra too. He does seem to be trying in spite of that but guy's not well himself.)

Even if not all wizards look to become romantically entangled with Mystra, Mystra has definitely encouraged competition and mistrust between them. After all, if the wizards supported each other they might realize they're stronger than her and that she's been causing harm. Another potential death.

I suspect the reason Mystra focuses on wizards is because wizards are ordinary people who know they were born ordinary, and know how hard it was to build arcane power. They aren't as secure in themselves as sorcerers who use magic like a reflex. And warlocks manage to work around Mystra with patrons who aren't beholden to her. So best for Mystra to undermine, manipulate, or otherwise occupy sorcerers who are strong enough to pose threats and teach the wizards they'd be nothing without her.

... One of the other arguments I saw recently was that Gale was being disingenuous/lying to himself and the player when he claims he wanted to gift Mystra a part of herself back. That he only wants power for power's sake, is kind of a terrible person, and it would be boring if he was being genuine. I deeply disagree with this stance.

When it comes to motivation, I'd argue power is by nature a means to an end rather than the end itself. "If I'm powerful enough no one will be able to hurt me again," "If I'm powerful enough I can fix every terrible thing I feel the need to," "If I'm powerful enough I can push the boundaries of what is possible and find a sense of wonder at the results."

Power because power does not cut it as a motive. It's likewise with ambition. We're not 2-D mustache twirlers here.

Ambition includes experimenting with a project to see if you can pull off something new or particularly difficult. Finding joy in the process and challenge itself isn't evil. It isn't even unhealthy.

Competing with others isn't necessarily negative either, in the right context. Being an elite athlete at the Olympics for example, you're putting your own skills against those around you in the hopes of surpassing them. It doesn't mean you think poorly of your fellow competitors. If anything, one would hope you respect them deeply for the shared discipline and passion. (But you still want to win, course. ;P)

If you read my post about DnD's pantheon, it's pretty clear I'm not opposed to the idea of A. firing gods from positions they're neglecting or B. nominating others to oversee necessary-but-unused portfolios. There are established gods of the Forgotten Realms who need, urgently, to be sacked. Being born into divinity, set up through nepotism, or 'elected by seniority' is not enough to shield a deity from my judgment. Mystra is abusing her worshippers, and while her portfolio might be able to squeak by I'd argue she's been compromised and is committing unprofessional and detrimental behavior in her capacity as goddess of magic. ESPECIALLY knowing she's like this as an ascended mortal. Any other mortal would be well within moral bounds to replace her. She has no ethical high ground in that regard. Managing autonomic maintenance of the Weave is an issue, but if someone showed up to replace her with the argument that Mystra is unfit due to committing abuse... I don't think that person would be morally wrong. Ballsy as hell, but not wrong.

So what's going on with Gale?

Gale canonically, in dialogue, thinks he and the world might both be better off if he was dead. I'll go a step further and argue that before the game even starts Gale considers his personal self a net-negative. If he isn't offsetting that with magical skill, knowledge, achievements, material possessions, and overall usefulness--he doesn't think he has a reason to be alive. The universe is worse for his existing in it.

Gale brags because he's trying to show he has something of value to give other people when he sees nothing of value in himself. He's trying to prove he can be an asset so others will keep him around. He brags notably less as he gains a sense of self-worth, self-confidence, and general support as acts progress. The times he gets snippy with other casters are because if he isn't the only and most useful magic guy to get something done, Gale thinks he might as well be thrown away. He is replaceable. He's also terrified to admit anything about the orb in Act I because there is no way to see it as anything but a danger and a burden. When that's added to his depression, he's sure he'll get abandoned in the wilderness to explode by himself and it might even serve him right. No one will mourn him. They might even be glad to be rid of the burden he brought.

Gale wants others to like him, to see him as a good person, to see him as someone brave and smart and worthy of trust. He absolutely does not see himself that way. If he's trying to prove it to the party--he's trying to prove it to himself just as much. There's a line he can give with The Dark Urge where he comments that if people are being killed just for being annoying, he should be dead a thousand times over. If you get solid approval with him at the tiefling party, he'll admit he didn't have any friends before the game. And while I can only speak to a particular romantic route, in Act III he talks about having been told to his face at various points/in various ways that he's insufferable. He knows other people don't like him and don't believe in him. If bad things happen to him they probably think he deserves it. He might even think so too.

Gale doesn't see anything worthwhile in himself that isn't built through wizardry. It has to be because he was smart enough, worked hard enough, and showed enough character to earn his power. If it's sorcery (and this is only a standard he applies to himself) then all that effort he put in would become meaningless. He can't look at his personal self as having done anything deserving of value or respect if he's a sorcerer because magic was easier for him than other people. And if he can't provide any magic, knowledge, or resources at all then no one has reason to give him the time of day. People hate him. Mystra only paid attention for his abilities as a spellcaster. The mortal, personal aspects of him were things she put up with.

So forget power and ambition for just a moment. What does Gale as a person in that position, who feels that way about himself, actually want? I'd argue that he probably just wanted to know the person he loved most actually gave a shit about him as a person. That he wasn't disposable or only worth as much as his skills and material possessions. I'm pretty sure he'd have wanted that regardless of whether Mystra was a goddess. Mystra both being the kind of goddess she was and the kind of person she was kept telling him he should be satisfied, that he shouldn't want any more than she was giving him. He can't climb any higher than her. No one can give him more than her. She is divine, she is the world itself. Gale never felt loved in that relationship. Due to Mystra's abuse he got to a place where the idea of wanting to be loved back became sacrilegious. It meant there was something wrong with him, that he was arrogant and insatiable. How else could he feel utterly alone and unlovable with a goddess?

Gale desperately wanted to mean something to Mystra personally, so he tried to offer a gesture of love in her language. Something he thought would be valuable to her as an individual and something requiring a ton of arcane skill/strength to deliver. He wanted her to look at him like he was irreplaceable as a person. I genuinely don't think that's a power-hungry or ambitious thing to want.

Gale didn't understand the orb, and unfortunately for him he didn't understand Mystra either. She wasn't the wise and understanding goddess he thought she was. She never wanted an equal. She does not have it in her to love someone as such. The idea of equality, for Mystra, is something that must be crushed to preserve herself.

I figure that the Gale who ascends to godhood has accumulated a divine amount of stuff and power to compensate for his belief that lacking those things, he would be worthless. If Gale wasn't a wizard it might have been music, or writing, or fighting, or politics--any skill, influence, or resource could be used the same way. It’s not that ambition is inherently bad. It’s that for Gale, it’s unhealthy. The ambition isn’t for its own sake. He’s using it as a counterweight against his own sense of worthlessness. God Gale buries his problems instead of dealing with them. He will never know if a character who romances him only did so because they saw his potential and wanted to come along for the ride. He will never know if they'd have bothered to stick around if he was only Gale Dekarios, if he didn't have so much to offer them. He tells himself it's enough that they believed he could do it.

With the mortal Gale ending, we should note that Gale doesn’t need power to enjoy the study of magic if he’s healthy. His priority isn’t about pushing the limits of spells, making new ones, or making a name for himself. Given room to decide for himself, he just wants to uplift and share with others through teaching. His trends in approval and disapproval support this preference too.

For Gale, I really think ambition and power are crutches he uses to justify being alive because he doesn't see any other reason. Give him a reason and he genuinely doesn't need them. They're the means, not the end. He does not want power for the sake of power. Guy is sad and doesn't know how to live with himself. He's not a worse or less believable character with that being his motive. Stories are about people, and people don't move through the world with static 'flaws' and 'virtues' checklists that need to be balanced. There's nothing inherently deeper or more meaningful about villainous characters compared to heroic ones. People make choices and deal with situations according to their experiences moment to moment, trying to make sense of things as best they can throughout their lives. Gale fits perfectly within this. The other cast members do too.

And for the record, while I'd argue Karsus was far more ambitious in character than Gale--even for him, it wasn't just about power. The guy was trying to save his people. He fucked up in a horrible and traumatic way so he's a Netherese blood fountain now. (RIP Karsus but also someone please pact with him.)

And as one last, controversial section... what did Gale's experience with Mystra do to him when it comes to his relationship with sex?

From how Gale talks about and shows Weave-sex, I'd argue it's an extension of him feeling inadequate as a mortal. And knowing this is a controversial point + a lot of people have done and loved the Weave scene because it reflects Gale's love of magic, I offer this: Gale would not be less worthy of love if he didn't have magic. Gale does not know this about himself. He went from an archwizard with a tower and Mystra's chosen to a level one adventurer sleeping on the ground. His entire relationship with magic for much of the game is incredibly unhealthy because he sees the person left in its absence as worthless. For Gale to have a healthy arc, I'd argue he needs to learn how to look at himself as nothing but a man and know he's still precious and irreplaceable. He needs to learn that he doesn't need to prove he deserves to be alive. He isn't disappointing. He doesn't have to try to impress others all the time to have a place in their worlds. He doesn't need to bribe people with shiny things or unique abilities so they'll tolerate the rest. He can exist as no one and nothing but himself and be treasured just for that.

I think at some point Gale could potentially have sex in the Weave again as a repairing experience where he's confident that his physical body, his reactions, and his wants weren't anything to feel ashamed of. Reclaiming that from his experience with Mystra could be very powerful and sexy. But for the first time he has sex since Mystra, when he thinks he's going to need to kill himself any day now and has been struggling between terror and self-hatred, I personally think it's healthier for him to get the validation of being enough as just Gale. Not the Wizard of Waterdeep. His life isn't being advocated for because he's strong or unique in bed. Someone wants him alive as just a person.

And not for nothing... I'm saying this as a writer who can't not write. I've had to do my own share of reflection about how I look at myself if writing isn't the metric of my worth. I wouldn't think Gale needs to abandon all magic any more than I would need to abandon all writing. But it's really important to know we aren't empty trash without our callings, you know?

Before I end this post, I do want to invite readers to think back to those bullets I made before on unhealthy power imbalance.

A character is physically and/or mentally incapable of participating with proper awareness of the situation, as a partner with equal respect and sway within the relationship.

A character is dependent upon the prospective partner for survival and cannot refuse them without fear of retribution or withholding necessities to survival.

A character is being systematically isolated and made dependent on their partner for all socialization and self-worth.

If Mystra deliberately started grooming Gale from a young age, emphasized and exaggerated the power discrepancy rather than making any effort to close the gap, that's a pretty big deal. Gale definitely never had equal respect or sway in the relationship compared to her. She'd probably find the idea insulting in the face of her godhood. She didn't want a partner but a supplicant who obeyed her with no needs for himself. Mystra actively distorted Gale's sense of boundaries and magnified what she could take from him if he displeased her. His life's work, his ability to access parts of his own mind for spells, his means of functioning in the world, his ability to defend himself... but also? His health and survival, once the orb was brought into play. And socially, Gale was incredibly isolated. It sounds like he hasn't even seen his own mother in at least a year, which I have some thoughts on. He was friendless for a long time even as Mystra's chosen. And Mystra made sure other wizards knew when she abandoned him to the point that even Lorroakan was aware. Mystra's offense was something for others to look down on him for. And Gale struggles in-game with the idea that Mystra mistreated or neglected him--because how could a goddess, his goddess, do that? He's been gaslit so hard that he doesn't quite get a moment of fully realizing it wasn't his fault. In some dialogue options Mystra even tries to frame his trauma over her abuse, unaware even that he had the Karsic Weave inside him, as wallowing in self-pity.

Gale did make a mistake, but I'd argue it matters a lot that the mistake was innocent and that he's woefully misjudged Mystra's character. He's being told it couldn't have been innocent and he deserves to be punished for it. He largely believes that. Doesn't make it true.

[the-eclectic-wonderer]

I always think about how in multiple episodes it's basically canon that Blanche is bi but considers dating women to be more hassle (which is a whole rabbit hole to go down - does she struggle with societal homophobia when she's with women? Has she only been with fellow high maintenance femmes when shes really after a Dorothy type? Has she internalized the idea that her attraction to women isn't 'real'? Her reaction to Clayton adds to these questions). Not to mention how this goes together with her relationships with the girls; making to kiss Rose that one time (and Rose multiple times seeming very aware of Blanche's proclivities), begging Dorothy for 'relief' and being convinced she's attracted to women too.

Yes, anon! It’s really interesting to delve into Blanche’s psyche about all this stuff!

I started writing down my thoughts and ended up with a long ramble -- allow me to place it all under a cut, so I don't clog up anyone's dash, haha.

Personally, I think she has some strong mental blocks when it comes to her sexuality because of the way she was brought up. I mean, she grew up in Atlanta approx in the 1930s/1940s — I’m sure I don’t have to detail the kind of casual bigotry she must have seen around her during her formative years! Just look at the story she recounts in S1E13 A Little Romance:

“Now, you have to understand that in those days in the South a lot of things were still taboo. Certain people were not to mix. So Benjamin and I had to meet in secret. Oh, we knew if any of the bigots in town found out about us, there’d be a terrible scandal.”

And all of this because Benjamin was a yankee… can you imagine what ‘the bigots in town’ thought about homosexuality? Yeah, I’m pretty sure Blanche learned to suppress that part of herself very early on. We know she turns to denial when she’s faced with uncomfortable truths and emotions she can’t deal with, so I think she likely just refuses to acknowledge that part of herself most of the time, and it only comes out (pun intended!) when she’s not paying much attention to things, or when there’s something more important going on. See the two examples you point out: when she tries to kiss Rose she’s concerned with not being kissed at midnight, and when she propositions Dorothy she’s, well… she’s desperate to get some, if we can be frank.

When she’s in a more rational state, her reactions tend to be more measured… but not by much. She does advise Rose not to date women (S3E10 The Audit):

“Oh, no, honey, don’t do that! No job is worth having to date women!”

But she’s also really flattered at receiving lots and lots of phone calls from women, after her appearance as a ‘lesbian’ on TV (S7E15 Goodbye, Mr Gordon):

“By the way, Dorothy, if I were a lesbian, I sure would be a popular one. Look at this, 20 calls.”

And of course we can’t forget her reaction to finding out that Jean has a crush on Rose in S2E5 Isn’t It Romantic?:

“Jean has the hots for Rose? I don’t believe it, I do not believe it! […] To think Jean would prefer Rose over me? That’s ridiculous! […] Now you tell me the truth: if you had to pick between Rose and me, who would you pick? Who?”

All of these are (likely) intended to be jokes about her vanity and her libertine nature (in the same way as Rose’s observations are), but considering a lot of the writers of this show were queer themselves, it wouldn’t seem strange to me if they were intentionally peppered in to suggest that Blanche might be a bisexual in denial. It certainly fits her character!

I haven’t spoken about her reaction to Clayton’s coming out yet, but that’s immensely interesting too, of course. I think Blanche has the same attitude towards homosexuality that I see in a lot of (mostly older) people in my Country nowadays: it’s fine as a general concept, but when it comes to her family (or, God forbid, herself) then the problems come out. See for example what she says about Jean:

“Well, I’ll never understand what Jean doesn’t see in the opposite sex, but if that makes her happy, that’s fine by me!”

Which isn’t a homophobic attitude at all! If anything, if you take her upbringing into account, it’s pretty accepting. But then, when Clayton comes out to her (S4E9 Scared Straight) and tells her he wants to get married (S6E14 Sister Of The Bride), this is what she says:

“Oh, Clayton, please be serious. You're just saying that so I won't set you up with any more women. […] Well, then you're saying it 'cause you're trying to get back at me for something. Clay, I know you too well for this. After all, I know it can't be true. You're my brother. […] Clayton Hollingsworth. You look me in the face and tell me you really are… what you just said you are.”

“I'm having a little trouble putting this all together. Clayton, I just feel like I don't know you anymore.”

“[…] Dorothy, that's different. We're talking about going out in public. Oh, what are people gonna say?”

“Will you tell me why you want to put yourself and Doug through this? You know how people can be.”

“Oh, look, I can accept the fact that he's gay, but why does he have to slip a ring on this guy's finger so the whole world will know?”

Quite the difference from her attitude towards Jean, wouldn’t you say? I think there’s three elements at play here.

1) When Clayton comes out to Blanche, she feels disoriented because this is life-changing information Clayton has never shared with her before. While her reaction as a whole isn’t ideal, personally I think it’s understandable. Clayton is her baby brother; she’s known him as straight all his life, he’s been married to a woman for years before his divorce, and she recounts an episode from their adolescence when he was on a date with a woman and very clearly implicated having a physical encounter with her. He's done everything in his power to pass as straight until this point in time -- I don't find it strange that Blanche would be shocked at his coming out, especially given her upbringing (and the fact that this is set in the 80s! We can't expect modern sensibilities from the characters!). Once again, her reaction isn't the best (she can't even bring herself to say the word 'gay' at first...), but the shock per se isn't that surprising, imho.

2) Blanche is scared because of societal implications above all. She doesn't necessarily see being queer as something wrong, but she's been taught it's not socially acceptable and acts accordingly. Notice how she's worried about what people are going to say, and she struggles to accept that Clayton wants the whole world to know about his relationship with Doug.

Societal expectations in general are a big theme for Blanche's character, and often drive her development; another big example of this is her attitude towards Rebecca's decision to get artificially inseminated, but it's a bit of a baseline issue for her, I feel. She has this whole thing about her beauty and her (supposed) youth and her attractiveness that has some inherent elements, but it's mostly an issue of how other people perceive her, I think, and her response to her brother's coming out is easy to relate to this theme. I mean, she even says it to Rose in S7E15:

"Well, I don't mind being labeled a lesbian, honey, but since I'm not, you just ruined my social life."

So yeah. I think it's safe to say her main concern is societal disapproval of queerness: she wants to be accepted and celebrated by the people around her, and she thinks that being openly queer will destroy her place in her social circle (and she's worried about the same happening to Clayton too, of course).

3) This is sort of related to point 2, but it felt distinct enough to treat it separately. I think she might have reacted so badly to Clayton's coming out (and especially to his showing up with a partner) because he's open about his sexuality, and she's not ready to face what that means for her. My lovely mutual @\hecatesbroom recently published her latest amazing work the odd one(s) out, on the relationship between Dorothy and her brother Phil and how Phil's open queerness might have impacted Dorothy; I think a similar situation might have occurred between Blanche and Clayton after his coming out.

Blanche has a sort of advantage on Dorothy because of her bisexuality, in the sense that she has 'passing privilege' (I really dislike this concept, but allow me to use it to make a point): it's painfully clear that she loved her late husband with all her heart, and she's obviously attracted to men as well, so she can pretend not to like women without too much of a hassle (whereas, if you believe Dorothy to be a repressed lesbian, her situation is much more complicated).

The issue with this is that this 'advantage' is a double-edged sword: she might have the comfort of being socially acceptable, but she's had to suffocate a big part of herself to obtain that comfort. And so, what happens when Clayton -- her baby brother Clayton, the one who's always been just like her, who's grown up with her same environment and influences -- begins openly living as a gay man? I'm sure the situation must have had a strong impact on her, even if just on a subconscious level; I've always found it curious that she seems to have a harder time accepting Clayton in S6E14 than she does in S4E9 (she even calls his sexuality a phase), and while a part of it may be attributed to the higher social exposure Clayton's commitment to Doug brings, I think this may be a result of her inner conflict, provoked by watching her brother live openly while she's been suppressing a part of herself all her life.

Here I'm assuming she's never acted upon her attraction to women before, but there's some space to believe she has done so and has decided it's too much of a hassle, as you say -- likely because she'd for sure do it in secret, given her fear of societal condemnation. If she has been with women before, and decided to give up on it, I still think she'd be greatly impacted by Clayton's coming out: it means her baby brother is a) braver than she is, and b) going to openly face (and likely suffer because of) the same social issues she's run away from. In this lens, I find it interesting that she cautions him about how people can be, almost as if they've both experienced it.

Whew. Wow, this was a lot more than I'd originally meant to write, haha! Seems you sparked a big train of thought, anon! I think all of the Girls (with the possible exception of Sophia) are really fascinating to analyze with a queer lens, and Blanche is always interesting to me, of course. As a final note, I'd like to point out that she does come around to Clayton's sexuality and his relationship, in the end: as often happens, she just needs the Girls' help to put things back in perspective, understand she's hurting someone she loves, and correct her actions. I'd like to think living with the Girls might lead to her becoming more accepting of herself, too.

[givemaycoffee]

I finally did AO3 wrapped for All Time and I was extremely shocked to discover that I read so sooooo much more fanfic in 2023 than in any other year ever. And a lot of it was concentrated in December when I took a wild (and unhealthy) spiral into P&P.

Some fun stats below

Top ships all time:

1. [15%] Percy de Rolo / Vex’ahlia (Perc’ahlia)

2. [12%] Elizabeth Bennet / Fitzwilliam Darcy

3. [9%] Felix Hugo Fraldarius / Sylvain Jose Gautier (Sylvix)

4. [4%] James T Kirk / Spock (Spirk)

Interestingly, despite BTS ranking significantly lower than I expected all around, Park Jimin was still a top character for me, coming in 8th place. I thought I read a lot more BTS fanfic than I apparently did. In my brain that was such a huge and transformative piece of my life…

Top Tags (I was really surprised by this)

1. Fluff

2. AU - Modern Setting

3. Hurt/Comfort

4. Angst

5. Established Relationship

Now everything after fluff has got me confused because I actually tend to avoid all those tags. I suspect what has happened is that I like ships that end up with a LOT of writing in those tags and once I run out of the tags I prefer I end up turning to whatever else there is and it’s a lot of these. So weird. Also, worry not, Porn w/out Plot was #9 and Anal Sex was #10 on the list.

Total Fics Read: 3,728

Words Read: somewhere between 48M and 177M, it wasn’t sure because I tend to revisit fics a lot (an average of 3ish times per fic). So split the difference, probably around 100M. Assuming a 90K length novel, that’s around 1,111 novels.

Fics Read in 2023: 1,693

Words Read in 2023: between 14M and 40M, so again splitting the difference that’d be about 27M words (or 300 novels)

[pleasetakethis]

I'm finally cleaning out my drafts! My oldest ones were from 2014. Lots of dead links (RIP), some pre-ban porn that can't be reblogged, and a bunch of S8/9 SPN gifsets before I took a tumblr break for a few years when real life got messy.

This is the first time my drafts have been under 4-5k in at least a year, if not longer :) Feels good!

I'm going to keep going until I can't (if there's a queue limit, I'm going to find it).

[impossible-rat-babies]

really feeling a way about eyrie being a healer tonight

[rotzaprachim]

calahan skogman’s brunette era is a joke from 2021 i was not expecting to become incredibly true in 2022

[sunni-stuff]

Part 4

Soap’s eyebrows lifted with a curious glint in his eye as he looked from you to Adira, a playful grin edging onto his face. He leaned in, never one to miss a chance at a bit of friendly prodding.

“So… you’re married?” he asked, his tone as light as his smirk.

You laughed, the sound warm and genuine. “Haha! No, I’m not.” You gave Adira’s tiny hand a gentle squeeze, glancing down at her with a smile that softened every edge on your face. 

Soap tilted his head, pretending to be shocked. “A bonnie lass like yerself? Unmarried?” he teased, hand on his chest as though it were a crime.

“Guess I’m a rare breed,” you replied with a grin, chuckling as you shifted Adira’s hand in yours.

Soap’s face lit up at your response, as if he’d just been given the most interesting bit of news he’d heard all week. He shot Ghost a quick look, but Ghost was still watching Adira, his gaze softened with something unreadable.

Meanwhile, Gaz wasn't fascinated by Soap's ability to make anyone at ease, the man was a cassanova. Roach watched Adira with curiosity, as though piecing together a puzzle he hadn’t realized existed until now. Price stood off to the side, arms crossed, silently observing the whole scene.

“If you aren’t married, how’d you get this little one?” Soap pushed, grinning as he wiggled a playful finger in Adira’s direction.

Adira’s gaze snapped up from Ghost to the man with the funny hair, her little brow furrowing as she studied Soap with a mix of curiosity and caution. She leaned into your leg, clearly wary, but her attention stayed on the finger waving in front of her.

You chuckled, brushing a hand over Adira’s head to reassure her. “Long story,” you replied, smiling. “Let’s just say she was an unexpected blessing.”

Soap laughed softly, glancing at Ghost with a gleam in his eye. “Ah, aye, life’s full of surprises, eh?” 

Ghost, who had been studying Adira in silence, clenched his jaw, shifting uncomfortably as Soap’s words hit a little too close to home.

“I used to be really wild back in the day,” you admitted with a sheepish grin, a hint of nostalgia coloring your tone as you thought back to those not-so-distant years.

Soap wasn’t quite done yet, though. “Does the father know?” he threw a quick glance at Ghost, who had just risen from his crouched position. A new tension ran through Ghost’s frame, his stance rigid, as if the question had struck something he’d rather not confront.

You hesitated, a shadow crossing your expression before you shook your head. “No, he doesn’t… He, uh, probably has no idea.”

Ghost’s jaw tightened, his gaze flickering from you to Adira, who was absorbed in her drink, unaware of the intensity surrounding her. His shoulders stiffened, and for a split second, he looked as though he wanted to speak—but whatever words he had caught in his throat, locked behind his silence.

"I see, well. I'm sorry if I took up your time, ma’am, you've been a nice chat," Soap said, his voice softening with a touch of politeness, his grin still present but more reserved now.

You nodded, giving Adira’s hand a gentle tug as you continued on your way, the soft crunch of snow beneath your boots the only sound accompanying your steps. The blue sky stretched above, peaceful, serene. As you walked, Adira turned her head, glancing back at Ghost one final time. She refused to let go of her cup, her small fingers gripping it tightly, but she lifted her other hand in a small, hesitant wave. "Bye-bye," she whispered, her voice soft but sweet.

Ghost’s gaze lingered, but he didn’t move. His expression was unreadable, a mixture of things churning behind those eyes. 

Price let out a heavy sigh, crossing his arms and facing Ghost. “So... what’s the plan?” he asked, his tone both blunt and expectant, clearly waiting for some kind of direction. The rest of the team stood in silence, watching the exchange unfold.

Ghost didn’t answer immediately. His gaze remained on you and Adira, watching you both disappear further down the street, the distance growing with each step. The soft crunch of snow under your boots was the only sound in the quiet winter air. He didn’t even notice Price's voice until the man spoke again, closer now, with a slight edge to his tone.

"Ghost, talk to me. What’s the plan here?”

Finally, Ghost shifted, his shoulders tense, his jaw clenched as he turned to face Price. There was a flicker of something in his eyes—something caught between anger, confusion, and a deep, gnawing regret.

"I don't know," he muttered, the words barely escaping his lips. "I wasn't expecting this. Hell, I didn't even know she existed." His voice was low, strained, but there was a quiet honesty to it, as if he was trying to process something that didn’t make sense.

Soap stepped closer, his expression serious for once. "What now, Ghost? We can help. But you need to tell us what's going on."

Ghost finally looked away, his attention drawn to the ground, his fingers twitching like he was trying to find something to hold onto. "I don't even know where to start," he admitted. "All I know is... I saw her. And it hit me like a fucking truck."

Roach, always one to stay in the background, spoke up. “Maybe it’s time to talk to her, yeah? Figure out where to go from here?”

Price’s eyes narrowed, his stern gaze shifting to Ghost, assessing him. “And what exactly do you want from us? You’re in this, whether you like it or not.”

Ghost let out a frustrated breath. “I don’t know,” he repeated, voice hoarse. “But I can’t just let her slip away.”

A silence stretched between them, heavy and thick, as the weight of the situation settled in. Then, slowly, Ghost nodded. “I’ll figure it out. Just��� not now. Not here.” His eyes flicked toward the street where you had disappeared, and something in his gaze softened, just for a moment, before the mask fell back into place.

Price gave a single nod. "Alright. But we stick together on this. You’re not doing it alone, Ghost."

The team stood together for a moment longer, the wind howling through the alley, before they slowly began to move, their steps trailing off into the winter evening. The silence that hung between them was thick with uncertainty. No one knew what came next, but they knew one thing for sure: whatever happened, they were in this together.

A month passed, the team giving Ghost the space he needed to process the whirlwind that had hit him. They all knew this was something he had to handle on his own terms, but that didn't mean the questions didn't linger. What did it mean for the future? What did he want? The answers were still unclear, even to Ghost himself.

But Soap, ever the persistent one, wasn’t content to let things sit in limbo. He knew Ghost, knew how his mind worked, and that sometimes the best way to breakthrough was to take small steps. And if that meant subtly nudging you into the picture, then so be it. He’d always been good at this—at slipping in the background, making things happen without anyone noticing.

So, Soap started to "accidentally" run nto you. At the park, when you were out with Adira, he'd make sure to be in the same place at the same time, offering a casual greeting. It always started simple, harmless, with a nod or a small comment about the weather. Then, of course, there was that coffee shop where you'd gone to get hot chocolate for Adira.

The first time he "bumped" into you there, it was nothing more than a quick exchange. A question about the drink, a comment on the cold weather, just the usual small talk. But Johnny's natural charm and ease made you relax, and made the conversation flow without much effort. Over time, those small moments grew. You'd smile when you'd see him, and he'd greet you with the same friendly energy, always leaving you feeling at ease. No pressure, just casual.

And slowly, ever so slowly, Johnny began to warm you up to the idea of him. It wasn't much at first—a smile here, a shared laugh there—but he knew what he was doing. He wasn't pushing, just letting the connection build at its own pace. The more you saw him, the more comfortable you felt. The more you talked, the more you found yourself enjoying the interactions, even if they were brief.

One evening, Johnny sat beside you on the park bench, casually leaning back as Adira bounced around in the snow, her laughter filling the crisp air. The sound was contagious, and for a moment, you let yourself relax, watching her with a soft smile.

"So, me and a couple friends are meeting up at Leslie's this weekend," Johnny said, his tone light but with a hint of something more. "Would you be interested?"

You snorted, expecting the usual joke or teasing, but when you glanced over at him, his expression was far more serious than you anticipated. For a moment, you considered dismissing it. After all, Leslie's? A pub? That was a far cry from the cozy routine you’d built for yourself with Adira. 

“Seriously?” you asked, raising an eyebrow. "I don't think I fit the scene."

Johnny shrugged nonchalantly, the corner of his mouth lifting in that playful grin of his. “Please. It'll just be like old times.”

Your mind immediately wandered, trying to understand what he meant by that. What was it about old times that Johnny thought might appeal to you? You didn’t exactly have a wild past to cling to. Sure, you’d had your moments, but those felt long behind you now. 

Still, something about the invitation lingered. A night out... maybe it wouldn’t be so bad. You hadn’t done anything for you in a while. And maybe, just maybe, it would be nice to let someone else take care of the night for once. No worrying about Adira, no responsibilities for a few hours. Just some fun, whatever that meant now.

You hesitated, looking down at Adira as she made another snow angel, oblivious to the conversation happening nearby. She’d be fine, right? And you could leave if things felt uncomfortable. 

“Alright,” you finally said, meeting Johnny’s gaze with a reluctant but genuine smile. "I'll join you. But only if it’s not as crazy as you’re making it sound." 

Johnny’s grin widened, and you could tell he was already mentally planning the evening, no doubt with some plan to ease you in without overwhelming you. He stood up, dusting off the snow on his pants as he glanced back at you.

“Deal. I’ll make sure it’s a night to remember.”

You just hoped he wasn’t overselling it.

The weekend seemed to arrive so fast, and here you were, standing outside your apartment, nervously adjusting your blue blouse and jeans. It wasn’t exactly the type of outfit you thought would fit a night out, but it was the best you could do. Most of your wardrobe these days consisted of comfortable clothes, ones that could be easily changed or wiped clean in case Adira had another of her toddler mishaps. Sexy or flirty clothes were a distant memory, tucked away in a drawer somewhere, gathering dust.

Adira stood in the doorway, clutching her little stuffed bear to her chest, eyes wide and brimming with unshed tears. The sight hit you harder than you expected. You knelt down in front of her, your heart sinking at the sight of her teary eyes. “I’ll be back in a couple hours, I promise,” you said, your voice gentle but firm, reaching out to her with a reassuring smile.

Adira sniffled, her tiny hand coming up to rub her eyes, but she didn’t break her stare. You held out your pinky, the gesture as familiar as breathing. Slowly, she reached out, her small finger wrapping around yours with the same trust she always had. The connection was brief, but it felt like a promise, one that you hoped would calm her.

"I won't be out long," you said softly to the friend you’d left with her. "And you, be good for Auntie too." The last part was directed at Adira, though the words felt bittersweet on your tongue.

Adira nodded, but her face still held that sadness, that uncertainty of what the night would bring without you. 

Standing up, you ruffled her hair and offered a small, hopeful smile. “I’ll be back before you know it. Just a little fun for Mama, okay?”

Her small nod didn’t do much to ease the tightness in your chest, but you turned and gave her one last look before stepping outside. The cool evening air wrapped around you, a contrast to the warmth of the apartment behind you, but you pushed the feeling away. Tonight was for you, however strange that sounded. 

Locking the door behind you, you felt a flutter of nerves in your stomach. This wasn’t just any night out. It was a night with Johnny, with his friends, with the possibility of reconnecting to parts of yourself you’d set aside for so long.

Arriving outside the establishment, the familiar hum of chatter and music filled the night air, but what caught your attention first was Johnny standing outside, leaning against the brick wall, checking his watch. The moment his eyes met yours, they lit up, his expression shifting from casual to something almost... eager. 

“Well, well, look at you,” he said with that trademark wink of his, his gaze raking over you with a genuine appreciation that made you feel suddenly self-conscious. “You clean up well.”

You rolled your eyes but couldn’t suppress the small smile tugging at your lips. It was hard to resist the easy charm of Johnny.

“Let’s just hope I survive this night,” you muttered, though the words were more for yourself than him. You weren’t sure what to expect tonight, but you couldn’t shake the feeling that things might not go as smoothly as Johnny seemed to think.

Johnny chuckled, the sound warm and reassuring. “I’m sure you will. Now, let’s get going before I change my mind.”

With that, you fell into step beside him, the weight of your hand at your side suddenly feeling strange in the cool night air. He led you toward the door, and as you entered the dimly lit space of the bar, your eyes scanned the room. 

It was bustling, a mix of regulars and newcomers, all seeking solace or company for the night. It smelled of beer, whiskey, and the faintest hint of fried food, a familiar and welcoming kind of atmosphere. But as soon as you stepped inside, your nerves shot back up again. You tried not to let the nerves show, but they were there, itching under your skin.

What you didn’t notice, as you made your way to the bar, was the group inside. Ghost, Price, Gaz, Roach��quietly observing, waiting for their chance to either speak to you or simply let you slip through their fingers once more. Ghost’s eyes tracked you the moment you stepped inside, and there was a hesitation in his gaze, something raw and almost pained that flickered in and out. 

For a moment, Ghost didn’t move, didn’t speak. He simply watched you, aware that the moment he’d been dreading—he had finally stumbled into. Your gaze met his across the room, the flicker of recognition passing between you both. But that was it. You didn’t remember. You didn’t know him. You didn’t know what he was to you.

Approaching the bar, you saw that Johnny was already leaning in, chatting with the bartender, exchanging friendly banter. You barely heard the words, only caught up in the feeling that something was different. Something you couldn’t quite place. You glanced back at the table where those men sat. They weren’t talking, but their eyes were all trained on you, as if waiting for something to happen.

Your heart raced without explanation. Ghost’s eyes—those eyes—stayed locked on you. He didn’t know how to approach, how to change what had already seemingly been set in stone. What was he supposed to say? What was the plan now that you were here, so close? God, why the fuck did johnny do this.

Johnny leaned toward you again, a soft smile curling his lips. “You good, love?” he asked, his voice pulling you back to the present.

“Yeah,” you muttered, your voice barely above a whisper. You forced a smile, trying to ignore the uneasy tension brewing in your chest. “Just... getting used to being out.”

Johnny winked again, oblivious to the chaos of emotions swirling within you. “It’s all good. Let’s have some fun tonight, yeah?”

Ghost’s fist clenched involuntarily under the table. He wasn’t sure how much longer he could keep this distance, this silent acknowledgment of his role, or how long he could ignore what it meant to see you here now. 

“You’ll fit right in,” Johnny said, though there was a hint of something deeper behind his words. “Just a bunch of mates enjoying a drink, nothing crazy.” Johnny leads you over to the table, you expected to be met with… well you didn't quite know what.  

Price leaned back in his seat, cigar in hand, a soft smile on his weathered face as he regarded you with a raised brow. “Didn’t think you’d actually show up.”

"Neither did I," you muttered under your breath, forcing a smile and doing your best to ignore the gnawing feeling that lingered when you looked at him. You hadn’t quite expected this part of the evening.

“I’m just here for a drink, nothing more,” you said, looking over at Johnny was getting comfortable in his chair.

“Well, pull up a seat, love,” Price said, motioning to the empty spot next to him. “We’re all friends here.”

You hesitated but made your way over, perching yourself on the seat next to him. The sound of the glass being slid toward you, the clink of ice against glass, broke through the chatter around you. Your nerves buzzed as you focused on the drink in front of you, trying to ignore the sudden realization of just how different this was from the quiet, routine life you had at home with Adira.

“Enjoy yourself,” Price said with an air of casual amusement, leaning back in his chair. “This is all new for you, isn’t it?”

You raised an eyebrow, not wanting to admit just how out of place you felt in the moment. Instead, you took a sip of your drink, the burn of whiskey warming you from the inside out.

You laugh lightly, a bit awkwardly, trying to shake off the nerves that gnawed at you. "Yeah, this all a bit... newish. I haven't been out like this in years honestly," you admit, taking a deep breath and glancing around the bar. The warmth of the space was a welcome contrast to the chill outside, but the sight of the men made you feel more like a fish out of water than ever.

Johnny claps you on the back with an easy grin, clearly trying to make you feel more comfortable. “These are my mates. Price, Kyle, Gary, and Simon," he introduces with a flourish, motioning to each man in turn. 

You give them all a polite smile, not quite sure what to make of them just yet. There was something about the way they carried themselves, all standing a little apart from the crowd, that made it clear they were more than just regulars at the pub. But you didn’t have time to focus too much on that right now. You were trying to just survive the night.

Price, who looked a bit older than the rest, nods at you, his gaze thoughtful, almost cautious. “Nice to meet you,” he says in a tone that is polite but distant, as though he’s waiting for something, some sign.

Kyle, as Johnny had called him—gives you a friendly nod, a playful glint in his eyes, but there's a strange sharpness to his look that you can’t quite place. “Pleasure," he says, offering you a tight smile.

Gary simply gives you a quick but sincere nod. His eyes linger on you just long enough for you to catch a flicker of interest before he looks away.

And then there’s Simon. His presence, as always, is quieter, more intense. He’s sitting in the middle, arms crossed, his gaze fixed directly on you. You can feel the weight of it, though. It’s impossible not to. There was something you couldn't place with him though you couldn’t see too well under the dim light.

You try to shake off the unease creeping up your spine. “Nice to meet you all," you reply, your voice warmer than you feel. 

Johnny, oblivious to the awkwardness in the air, slaps the bar and gives a nod. “Alright, drinks all around, yeah? Let’s get this party started!” he declares, pulling the group into the rhythm of the night.

As the revelry began your stomach churns slightly, a sense of unease still lingering despite the distraction. You knew something was off, something you couldn’t quite put into words. It wasn’t just the men—it was the way Simon’s gaze lingered on you, the way he looked at you as if he were waiting for something. It unsettled you, but you couldn’t figure out why.

Johnny, seemingly oblivious to your tension, slides a drink toward you. “First round’s on me," he grins, the clink of glass against the table snapping you back to the present. "Here’s to a good night.”.

You took a deep breath, swallowing down the nerves that still clung to you. This was supposed to be a night out, after all. A chance to shake off the past, to let loose just a little. You couldn’t let the weight of everything pull you under before you even tried. What would be the point if you didn’t at least try and enjoy yourself?

Shaking the tension from your shoulders, you took a sip of your drink, the burn of alcohol easing the knot in your stomach just slightly. The guys were chatting among themselves, Johnny’s laughter cutting through the low hum of the bar as he joked with Kyle. Price was listening intently, nodding along while Gary seemed content to let the others talk, his eyes occasionally flicking to you, though his gaze didn’t linger long.

And then there was Simon.

His presence loomed even when he wasn’t speaking, his broad frame leaning against the bar just slightly, face half hidden by the shadows. You caught his eyes for a split second, the intensity of his stare making your pulse hitch. You quickly looked away, focusing on your drink, your nerves creeping back up despite the effort to push them aside.

You could feel his gaze on you, though, like a weight pressing against your back. You tried not to let it show, tried not to acknowledge how his proximity seemed to pull at something inside you, but it was impossible to ignore. There was a pull, something in the air, but you couldn’t quite grasp it.

Sighing inwardly, you turned your attention back to the others. Just enjoy yourself, you remind yourself again. Don’t think about him. Don’t think about any of it.

Johnny clinked his glass against yours, a grin on his face. “Here’s to not letting the night pass us by,” he said with a wink, and you couldn’t help but smile back, lifting your glass.

“Cheers,” you said, the warmth of the alcohol giving you just the nudge you needed to ease into the evening. For now, you’d ignore the tight feeling in your chest. You’d enjoy yourself. 

But the eyes that lingered on you would remain, whether you were ready for them or not.

You pushed your chair back with more force than necessary, the scrape of it against the floor loud in the otherwise quiet bar. The conversation still echoed in your ears, but your focus had been on the man, Simon, for the past half hour. His silence had become suffocating, every glance he cast in your direction feeling like it held some hidden meaning. You couldn't quite place it, but something was off about him. His eyes, cold and intense, had followed you too much, made you second guess every word you’d said.

"Im... gonna go powder my nose," you muttered, more to fill the silence than anything else. You didn’t wait for a response, the words barely out of your mouth before you were already making your way across the room, past the low hum of idle chatter and the clink of glasses.

While you were in the bathroom, the entire team turned their attention towards Ghost, each of them sizing him up, starting with Soap.

"What is wrong with you?" Soap asked, his voice a mix of disbelief and amusement.

"What?" Simon blinked, genuinely confused.

"Mate, you've been gawking at her all night," Gaz added, raising an eyebrow, his voice teasing but laced with concern.

"Shit. Are you serious?" Simon muttered, running a hand through his hair, but his gaze didn't stray far from where you had just disappeared.

Roach, leaning back casually with his drink in hand, nodded thoughtfully. "Yeah, it's like you’ve been stuck in a staring contest with her since she walked in."

Price, who had been watching quietly, shook his head with a resigned sigh. He snuffed out his cigar in the nearby ashtray, eyes narrowing as he met Simon's gaze. "If you scared her off, I doubt you’ll get another chance, lad."

Simon’s jaw clenched. He hadn’t realized how obvious it had been, but now that the team was calling him out on it, he felt the heat rise in his chest. He hadn’t meant to make you uncomfortable, but the pull to look at you, to remember what had sparked your connection all those years ago had been almost magnetic.

“Alright, alright,” Soap teased, leaning in, a smirk tugging at his lips. “Just don't burn a hole in her head.”

“Shut up,” Simon muttered, his mind racing, trying to figure out how to fix this without making things worse.

Price shared a look with the rest of the team, a silent understanding passing between them. While Soap might have been the one to set this whole thing in motion, it didn't mean the others didn't have contingencies in place. 

Soap got up first, stretching a bit. “Gonna make sure no one's tried to get in my car,” he said with a casual tone.

“I’ll come with you,” Gaz chimed in, already pushing himself up from his seat and following Soap toward the door.

A minute later, Roach also stood, excusing himself without a word, and then Price followed suit, his movements deliberate. “I’m gonna make sure they’re not up to anything,” he said with a knowing glance.

With everyone out of the immediate area, the bar suddenly felt quieter, and the tension in the air seemed to thicken. It took Ghost only a second for it all to click—he had been set up. Without thinking, he bolted from his seat, rushing outside just in time to catch the taillights of Soap's car disappearing down the street.

He cursed under his breath, but before he could make another move, his phone buzzed in his pocket. Pulling it out, he glanced at the screen. There, in simple words from Price: 

“Good luck.”

Ghost stood still for a moment, phone in hand, as the weight of the situation hit him. His heart thudded in his chest. This was it. There was no turning back now.

By the time you returned to the table, you felt a bit more at ease. The night out wasn’t all that bad… it was just that Johnny had some weird taste in friends. Well, mostly the tall one. You couldn’t help but notice how everyone seemed to have left, a pit forming in your stomach at the thought of being ditched.

You let out a quiet sigh, about to gather your things and head out when your phone lit up in your purse. Pulling it out, you saw a text from Johnny. 

"Emergency, looks like one of the beers wasn't that good, poor Kyle threw up."

You paused, reading the message again, a small smile tugging at your lips. Aww… nevermind. At least they hadn’t forgotten about you after all. 

"Hope he's okay." You replied quickly, grabbing the straps of your bag when suddenly a hand landed on top of yours.

You looked up, meeting the intense gaze of Simon. Seriously? You couldn’t help but think. They took everyone but this guy?

You forced a smile, trying to pull your hand away, but Simon’s grip was firm, not unkind. “Look, I had a decent time, but I have to go—”

“Just a minute,” he interrupted, his voice low, steady, almost pleading. There was something about the way he said it that made you pause, something different than the usual small talk.

"Fine." The word slipped out before you could process it, and you cursed yourself inwardly. Really? You just agreed to stay with the guy who hadn’t stopped staring since you met him. You sat back down, and he mirrored you, settling across the table. 

Silence stretched between you, his intense gaze unwavering. He didn’t so much as blink, and you couldn’t help but feel more unsettled by the second.

What the hell is his deal?

“Look, if you're just going to be a creep, I don't think I want to mee—"

“Do you remember Armed Forces Day?” His voice cut through your words, quiet but resolute.

Okay, this took all day, I wanted to give you all something long to read incase I disappear for finals (which I might)

Reblogs appreciated!!!

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WOWWW LOOK AT ALL THESE NAMES. Thank you all so much for the support!! Im sorry if i missed any, I will update if I noticed any missing or comment on those who's tags didnt go through!

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[moondirti]

can i say something crazy? cw: piss. nasty stuff

simon who has absolutely no respect for his bird's privacy.

comes back home from work; all sweaty and churlish and dour, soot caked on his face and hands, welder boots announcing his arrival in heavy, lazy footsteps. he doesn't call for you, but your gentle hey babe sounds from the bathroom anyway, half-distracted by the videos on your phone. the idea of you coddled at home since he left at dawn that morning — cushioned in bed until late, one hand in a bowl of cherries on ice that still drips condensation over your nightstand, the other pushing a new record for screen time on tiktok, the lengths of your legs all soft, bitten, exposed in set of flimsy shorts, cooled by the fan overhead, all ready evidence to why he puts up with as much shit as he does — drives him a little mad to think about. stokes a hunger in him, a mix of pride and masculinity and possessiveness that has him pushing into the room. despite the fact that his needs aren't urgent, not pressing enough to justify this.

this — standing right before you, so that your manicured toes kiss his leather soles. saying nothing as he unbuckles his belt, gruff, quiet, completely uninterested in addressing your concerns when you look up at him with those squinted eyes. it isn't above simon to make you suck him off while you're on the toilet, and really you wouldn't mind, but you get the sense that isn't what this is when he knocks your legs apart with his knees. little fuss to the action, little reaction to your spread pussy.

his cock bounces out about eye level with you. soft. nonetheless hefty and thick and large, bowing down even as he wraps a rough palm around its base. he can see the revelation find you in real time when he places his free hand on the wall behind you. the cresting arch of your brows. the grimace mangling your cheeks. the prissy pout of your lips. if he weren't so exhausted, he might have it in him to take your face right there. it's just the right combination of horror and fascination to get him going.

"simon noooo," you whine, throwing your phone somewhere, scrambling back until you can't anymore, porcelain tank pressing flush to your back. "just wait your turn. please!"

"'nuff of tha'. shush now." he huffs, chuckling a bit when he realises that you only made things worse for yourself by leaning away. your hips now jut out, cunt propped centre of the bowl.

there's no shyness, no stall on the release. his piss comes out in one, hot stream, washing right on target to hit your little clit. you shake your head, so disgusted with him he knows he'll have to make it up later. still, you do nothing to discourage it, sitting in place like a good pet, only occasionally tensing your legs against the steaming shower. some splashes on your belly, some on your thighs and the rim, yet it's never ending. you wonder if he planned this all day, held in the four cans of san pellegrino you packed for his lunch, just so he could give them back to you.

you just don't realise that not all of it is his.

"sad t'be missin' out on th' fun?" simon mocks, finally pulling away. he shakes the last of it off his cock, swiping a hand over his tip, before tucking himself back in. you blink, look down, and realise that somewhere along the lines, you started peeing too.

and have yet to stop.

"it's natural!" you wail, squeezing your pelvis floor in a last ditch attempt to save your dignity. it's no use. having started, it's near impossible to stop. your necks discovers a new type of heat in the humiliation, burn licking its way up your face. your ears tuck into your shoulder.

"yeah, yeah." he patiently waits for you to finish, cupping a hand under your elbow to keep you upright as you stand on fawn legs. his lips are paper thin, fleeting, when they press fondly to your temple. "now off to th' shower w'ya."

your nose crinkles. "you know you need one more than i do, right?"

"and wha's a shared bath?"

[headspace-hotel]

I saw this book entitled "Plants Have So Much to Give Us, All We Have to Do is Ask" by Mary Siisip Genuisz and i thought oh I HAVE to read that. The author is Anishinaabe and the book is all about Anishinaabe teachings of the ways of the plants.

Going from the idiotic, Eurocentric, doomerist colonialism apologia of that "Cambridge companion to the anthropocene" book, to the clarity and reasonableness of THIS book, is giving me whiplash just about.

I read like 130 pages without even realizing, I couldn't stop! What a treasure trove of knowledge of the ways of the plants!

Most of them are not my plants, since it is a different ecosystem entirely (which gives me a really strikingly lonely feeling? I didn't know I had developed such a kinship with my plants!) but the knowledge of symbiosis as permeating all things including humans—similar to what Weeds, Guardians of the Soil called "Nature's Togetherness Law"—is exactly what we need more of, exactly what we need to teach and promote to others, exactly what we need to heal our planet.

She has a lot of really interesting information on how knowledge is created and passed down in cultures that use oral tradition. The stories and teachings she includes are a mix of those directly passed down by her teacher through a very old heritage of knowledge holders, stories with a newer origin, and a couple that have an unknown origin and (I think?) may not even be "authentically" Native American at all, but that she found to be truthful or useful in some way. She likes many "introduced" plants and is fascinated by their stories and how they came here. (She even says that Kudzu would not be invasive if we understood its virtues and used it the way the Chinese always have, which is exactly what I've been saying!!!)

She seems a bit on the chaotic end of the spectrum in regards to tradition, even though she takes tradition very seriously—she says the way the knowledge of medicinal and otherwise useful plants has been built, is that a medicine person's responsibility is not simply to pass along teachings, but to test and elaborate upon the existing ones. It is a lot similar to the scientific method, I would call it a scientific method. Her way of seeing it really made me understand the aliveness of tradition and how there is opportunity, even necessity, for new traditions based upon new ecological relationships and new cultural connections to the land.

I was gut punched on page 15 when she says that we have to be careful to take care of the Earth and all its creatures, because if human civilization destroys the biosphere the rocks and winds will be left all alone to grieve for us.

What a striking contrast to the sad, cruel ideas in the Cambridge companion of the Anthropocene, where humans are some kind of disease upon the Earth that oppresses and "colonizes" everything else...!...The Earth would GRIEVE for us!

We are not separate from every other thing. We have to learn this. If I can pass along these ideas to y'all through my silly little posts, I will have lived well.

[hoernypie]

Milk factory✩‧₊˚ 🐮

tags: breastfeeding, pregnancy kink, adult nursing, handjob

wc: 2260

The moment Satoru learned that you are pregnant he became thrilled. His obsession grew with your belly until it became the sole essence of his existence. He would spend his free time lost in online forums, devouring every bit of information about the pregnancy, what you felt, and how your body was changing. But in all of that, his interest was caught by one certain thing – breastfeeding. The very thought ignited a newfound kink within him. As your breasts grew bigger, Satoru's fascination with the concept of breastfeeding grew more intense. His thoughts often circled around your breasts getting big and heavy, swelling with milk. The wait was a torment for him as with passing time the anticipation was almost unbearable, filling him with an overwhelming mix of excitement and arousal.

After ensuring you were asleep, he would quietly sneak out to the bathroom, locking the door behind him. Quickly his jogs ended up sliding down, as he tightly gripped the counter with a shaky hand to support himself, his eyes closed as he pictured your enormous, full of milk breasts in his hands. His breath grew shallow as he imagined the sweet, warm liquid gushing into his mouth. His hand moved rhythmically over his erection, the pressure building with every fantasy about your body. He longed for the day when he would finally have the chance to taste your milk, almost addicted to the anticipation. His mind raced with scenarios of you in different stages of lactation, your nipples varying from engorged and leaky to soft and gently dripping white gold. Satoru's dick glistened with precum that beaded at the tip as he stroked it, feeling the intense pleasure building in him. His heavy balls tightened with every imagined drop of milk that hit his taste buds. Each stroke grew more desperate, more urgent, as he chased the climax at the mere thought of comfort that your nurturing breasts promised him. Each stroke brought him closer to the edge, his body tensing while he moaned quietly. The thoughts of being fed and comforted by you, and sharing such an intimate act with you made his heart race. And as he reached the peak of his pleasure, the image of your eyes locked onto his with that soft gaze and sweet smile, watching him drink from your body, was the final push he needed to cum into the palm of his hand.

Days turned into weeks, and Satoru's obsession with your pregnancy grew stronger with each passing moment. One afternoon, as you casually walked past the mirror, you caught a glimpse of your shirt's reflection. There were faint, wet spots that hadn't been there before. After closely inspecting the fabric your eyes widened as the realization hit you – your breasts had started leaking milk. You couldn't help but smile at the thought of Satoru's reaction after sharing the good news. Little did you know, the sight of those wet spots would be the catalyst for Satoru's most erotic and sensual fantasy yet.

In the evening you finally decided to tell Satoru the exciting news. You waited for him to come into bed, trying to contain your own excitement and amusement. When he finally got under the covers, you smiled widely "Honey," you began, "I think you're going to like what happened today." He looked at you curiously, his eyes searching yours for any clue as to what you were referring to. "The milk factory is open," you announced amused, watching as his expression shifted from confusion to elation in an instant. His eyes grew wide, and he took a deep breath, his heart racing at the revelation. "Really?" he managed to choke out, trying to keep his composure. "That's amazing!" You couldn't help but laugh at his enthusiasm. With eyes gleaming with excitement and anticipation, Satoru couldn't hold back his desperate plea. "Can I taste it?" he whispered, his voice quivering with hope to finally feel what he's been craving for so long. His gaze was fixed on your chest, the slight dampness of your shirt clearly visible under the soft glow of the bedside lamp. The long weeks of waiting had led to this moment, and his kink had grown into an all-consuming need, eating him alive. But you, delicately patted his hair, gently declining with a soft "Not yet, dear." Seeing his face fall into a pout, you couldn't help but feel a pang of amusement at his childlike behavior. "The strongest" yet, acting like a spoiled child after hearing rejection. Satoru's pout deepened, his dick getting harder and harder while it created a wet patch on his jogs. "Sweetheart please, just a taste - nothing more" he desperately pleaded.

"Not yet, my love," you repeated, your voice tender despite the firmness of your decision. "Let's wait until the baby is born. It's important that the milk is first for our little one." You leaned in to kiss his forehead, his hand absentmindedly caressing your swollen breast, feeling the firmness and fullness beneath his palm. He whined, his eyes never leaving the hypnotizing sight of your chest. "But I want to be part of this too," he murmured, his voice thick with longing. You chuckled softly, stroking his cheek. "You will be, 'toru. Just be patient. When the baby is here, you can share with it." Your words hung in the air, a promise that seemed to both soothe and frustrate him even more. He nodded reluctantly, his eyes never straying from your breasts as he snuggled to you. The anticipation was almost too much to bear, but Satoru knew that waiting would make the first taste all the more sweet. With a sigh, he nestled closer to you, his hand sliding over your belly to feel the baby's gentle kicks. For now, he would have to be content with the knowledge that soon, he would finally get to be more intimate in the act he had been dreaming about for so long. The wait would be worth it, he assured himself, as he closed his eyes and listened to the steady rhythm of your heartbeat, before slowly falling asleep.

The weeks leading up to the baby's birth were a torturous blend of excitement and frustration for Satoru. His obsession with your lactation grew more intense with each time when he delicately touched your body, and he found himself counting down the hours until he could finally taste the sweet ambrosia he had been fantasizing about for so long. His mind swirled with images of you, a glowing motherly figure, him kneeling in front of you, as he latched onto your nipple, your milk spilling out and soaking his hungry mouth, the sound of his contented slurps filling the room. The thought of your breasts, now a symbol of life itself - it all sent shivers down his spine. Each night, as you slept peacefully beside him, he could feel his control slipping, his hand occasionally straying to the wet patch on your shirt, his fingers brushing against the fabric as if trying to coax more milk out of your body. But he knew better than to push his luck, and he waited patiently, mentally getting ready for the moment the baby was born. The anticipation was agonizing, but he made sure to not do anything that would harm you or the baby.

Finally, the day arrived. The baby's cries filled the delivery room, and as the nurse placed the squirming little bundle into your arms, Satoru felt a swell of emotions, his eyes brimming with tears. He watched as you began to gently rock the baby, your face a picture of serenity and love, despite your disheveled looks - for him, you were always the most beautiful person in the whole world.

Days passed in a blur of sleepless nights and endless diaper changes, but amidst the chaos, Satoru found moments of quiet anticipation. The baby latched onto your breast with ease, and as you nurtured your little one, he couldn't help but stare at the sight before him, taking multiple pictures. Your breasts, now a source of life for the baby, were more mesmerizing and tempting than ever. Each time the baby was done feeding, Satoru would watch as your nipples remained erect, the occasional droplet of milk escaping and glistening in the soft light. His patience had reached a new peak with every passing day. He knew he had to wait, but the sight of your milk-heavy breasts was like a siren's call, pulling him closer and closer to the edge of his self-control. He would often find himself lost in thought, his hand unconsciously straying to his crotch, the fabric of his pants growing damp with his arousal. The days stretched into weeks, and as the baby grew more accustomed to the world, each time you offered your breast to the baby, he felt a pang of jealousy, pouting at the thought of what was denied to him.

Days turned into another month, and the baby had grown more accustomed to the world, its tiny hands grasping onto your breasts with surprising strength. Satoru had watched from the sidelines, his patience wearing thin, his longing becoming an unbearable ache. One quiet evening, as the baby finally fell asleep in your arms, you looked over at him with a soft smile. "You still wanna try it?" you whispered, gently guiding the baby to unlatch, gently putting it back in the crib. Satoru's eyes sparkled, his mouth watering at the sight of the tiny beads of milk that had formed around your areola.

Satoru climbed into the bed, his eyes never leaving your breasts. He positioned himself beside you, his gaze fixed on the treasure he had been longing for. His breath was shallow as he reached out, gently cupping one of your breasts, feeling soft skin in his hand. He took a deep breath, trying to calm himself down. "Thank you," he murmured, his voice a mere whisper. You nodded, a gentle smile playing on your lips. His thumb traced a circle around your nipple, watching as it pebbled and leaked a single drop of milk. He leaned closer, his tongue darting out to catch it, savoring the sweet taste that had haunted his dreams for so long. With a soft sigh, he took your nipple into his mouth, sucking it gently. The sensation was breathtaking, sending waves of pleasure through his body as he tasted the sweetest thing in his life. He could feel the milk start to flow, the warm liquid filling his mouth that he swallowed greedily. Your hand found its way into his hair, guiding and encouraging him as you gently caressed his hair. This act of intimacy was something he'd never felt before.

Satoru couldn't believe the moment was finally here. He had dreamt about this so many times, but the reality was far more better than any fantasy he could think of. As he continued to suck and the taste of your milk grew stronger, his arousal reached new heights. Satoru's hand slipped into his pants, his grip tightening around his throbbing dick. He began to stroke himself, his hips buckling slightly, his body desperate for release. Each pull on your nipple sent a jolt of pleasure straight to his cock, and he knew he wouldn't last much longer. The sight of your milk trickling down his chin and wetting the sheets was too much, as Satoru stroked himself faster, his breath shallow. His eyes closed, feeling comfort in this intimate act. Your smile grew softer, your eyes filled with love as you looked down at him, whimpering and moaning against your soft flesh. You reached over, wrapping your hand over his shaft, squeezing your fingers around it as you moved your hand up and down. The room was filled with the sound of his slurps and squelches of his dick. As the pressure built up inside him, Satoru felt your hand tighten around his dick, urging him to let go. With a final, desperate moan, he did just that, his cum spurting out and landing on his stomach, dirtying his shirt. The sight was more erotic than any of us could have ever imagined.

The moment left Satoru trembling with pleasure, your milk still warm on his tongue and your gentle touch still lingered on his body. He watched as you took a soft cloth to wipe his face clean, your eyes filled with affection. His hand lingered on your breast, feeling the gentle pulse of your heartbeat beneath his fingertips. "Can I do it again?" he asked excitedly. You chuckled, leaning in to kiss him softly on the forehead. "Not now," you murmured, "And let's clean the mess that you've made, shall we?"

As the days went by, Satoru eagerly awaited his turn, his kink becoming now more of a shared intimacy between you. After the baby had its fill, you would often offer your breast to him, watching with amusement and love as he greedily suckled the excess milk with a pout on his face. His eyes would roll back with pleasure, your hand instinctively caressing his erection, the act of being nurtured by you becoming a nightly ritual that brought him closer to the brink of ecstasy.

The bond you shared had evolved, becoming something more profound than either of you had ever anticipated, weaving a tapestry of love, obsession, and kink that only served to strengthen your connection, making his love for you grow deeper with that testament of the intimacy that could only exist between you two.

Lately, I've been obsessed with @gojoest content about Satoru. I love you Ai. ┬┴┬┴┤･ω･)ﾉ

[onthecrescentofthehill]

it’s funny when ppl talk about the harpy omelet scene and say things like “why did he do all of that? he didn’t need to. JUST doing that for laios???” (seen these nearly verbatim on posts i’ve made.)

i don’t really get how you can hear his backstory & not understand that every decision he makes within the dungeon is fueled by a profound trauma borne out of horrific, structural negligence. of course he would do fucking anything to enact his plan? if he computes “getting in laios’s favor = proxy control of the dungeon” and he has very limited time to do so, he will jump at the chance. he’s already DIED for this.

kabru has maybe the clearest possible motivation that a character can have. he has a Protagonists Motivation, and it guides him forward in a very coherent way in the beginning of the story. things get more complicated in later acts that directly address how that motivation manifests itself/gets contradicted, bc ryoko kui is great at exploring this, but it’s still extremely present.

and as a labru fan i strongly dislike the implication i see from some ppl that his interest in laios is mostly personal or romantic (posts that range from pure joke to actual ship meta.) even when taking the “confession” at face value, where i think he was telling the truth, there’s still a lot more to it than that. i think at first kabru does see laios as a means to an end in a way that’s impersonal, partly because he tends to keep everyone in his life at arms length. but that “end” (preventing history from repeating itself) is something foundational to his psyche, and we should consider that potential sense of safety getting mixed in with his warring fascination/apprehension towards laios. he’s drawn to him for visceral reasons, and his stated motivations are so intertwined with his sense of self that untangling this push-pull is much more interesting than boilerplate Yearning, to me.

it’s just confusing when any meta or basic discussion of kabru diminishes the weight utaya has on his inner world and i’m really surprised every time i see it? like i understand that different types of meta will put other lenses on things intentionally, and in most cases i think it’s an interesting tool to work with. but it’s a massive disservice to his character to put the most foundational experience of his life on the back burner ESPECIALLY when it’s in favor of shipping. dissecting character relationships, romantic or otherwise, is at its best when you have their full personhood in mind!!

[art]

Creator Spotlight: @camberdraws

Hello! My name is Camber (any pronouns), and I’m a mixed media illustrator located in the southwestern United States. I love drawing everything, but I have a special interest in depicting strange creatures and environments, often accompanied by abstract imagery and mark-making. Professionally, I’ve worked creating concept art and 2D assets for museum exhibits, but currently, I am engaged full-time as a software developer and make standalone illustrations in my free time. I’ve been posting art on Tumblr since I was a teenager, and the site has been very welcoming towards my work to this very day!

Check out Camber’s interview below!

Did you originally have a background in art? If not, how did you start?

I’ve had an interest in drawing since I was barely sentient, but at thirteen years old I decided to become “serious” about art. I was all about reading tutorials and doing a ton of studies. I would tote my heavy instructional art books to school every single day (my poor back!) Despite all this, I decided to forgo art school in favor of a bachelor’s degree in Computer Science at my local college. Alongside my major, I received a minor in Art Studio with a specialization in fine art, which totally changed my views on creating artwork and drastically changed my style.

How has your style developed over the years?

As mentioned previously, my style did a 180 after I studied under some very skilled fine art professors! As a kid, my drawings were very realism-heavy and inspired by video game concept art. I mostly worked digitally, too. During college, I was thrown for a loop when we were instructed to do strange things like, for example, make a bunch of marks on paper using pastel, WITHOUT looking, and then turn said marks into a finished piece of art! I quickly and deeply fell in love with abstract work, and especially appreciated images that are not easily parsed by the viewer. Since then, I’ve made it my goal to combine abstract mark-making with more representational subject matter.

What is one habit you find yourself doing a lot as an artist?

Hmmm, one habit I really enjoy as an artist is strictly tracking the amount of time I spend drawing! I currently work a full-time job wholly unrelated to art, so I have to be careful with my time if I want to spend enough hours drawing each week. I created a spreadsheet that allows you to enter the amount of minutes you’ve drawn each day and calculate how much drawing time you still need to reach your weekly goal (I aim for 20 hours a week.) Having such a clear, numbers-based objective keeps me motivated to work like nothing else!

Over the years as an artist, what were your biggest inspirations behind your creativity?

I know this is a common inspiration, but Hayao Miyazaki’s work has been rewiring my neurons since I was a child. Seemingly all of my artistic interests can be summed up by the movie Princess Mononoke: it has strange/abstract creature designs, a strong focus on nature and environmental storytelling, and a mix of dark and hopeful themes. Additionally, I’ve been deeply inspired by video game series such as Zelda, Okami, Pikmin, and Dark Souls. But arguably, none of these have influenced me more than Pokemon! I’ve been drawing Pokemon since I could barely hold a pencil, and I haven’t stopped since! I believe my love of designing creatures originated with my endless deluge of Pokemon fanart during my childhood.

What is a medium that you have always been intrigued by but would never use yourself?

I’ve always been fascinated by 3D mediums and am so tempted to try them out! Whether that’s 3D models created digitally or sculptures made from clay, I profoundly admire artists who have this skill. Oftentimes, it feels like I don’t have time to delve into a totally different artistic paradigm. However, I feel very strongly that learning new skills can enrich your current work. I should take that advice and someday give 3D mediums a shot!

What is a recent creative project that you are proud of?

I am in the process of creating an art book (a dream of mine!) and have been executing smaller drawings of concepts I find interesting from both a visual and storytelling standpoint. A recent drawing for said book is that of a snail made of ink with an ink bottle as a shell, and it went absolutely viral! I’ve never had an experience like this as an artist before and it has been spectacular! I was able to open a shop using my newly acquired art printer and sell many prints of my snail. Creating something original, directly stemming from my interests, and having that resonate with so many people has been unreal. I couldn’t ask for more as an artist!

What advice would you give to younger you about making art that’s personal or truthful to your own experiences?

I would tell my younger self to chill out and experiment more! I was so caught up in the idea that I needed to have a realistic style to be considered “good.” I also believed that technical skill was the only measure of how worthy my art was. That’s not to say technical skill doesn’t matter, but I now firmly believe the creativity and voice of your ideas far outweigh the skill of execution in terms of importance. Technical skills should elevate ideas, not the other way around. Once I began to revel in strange ideas and stories for my work, depicted oftentimes in odd styles or mediums, I truly found my voice as an artist.

Who on Tumblr inspires you and why?

My peers here on Tumblr inspire me more than anything! Sharing my work with contemporaries and giving each other support brings me joy like no other, and keeps me motivated to continue creating. I wouldn’t be where I am today without them! @beetlestench, @theogm-art, @trustyalt, @ratwednesday, @phantom-nisnow, @svltart, @mintsdraws, @mothhh-hh, @jupiterweathers, @thesewispsofsmoke, @picoffee, @fetchiko, @kaisei-ink, and @pine-niidles just to name only a few!

Thanks for stopping by, Camber! If you haven’t seen their Meet the Artist piece, check it out here. For more of Camber’s work, follow their Tumblr, @camberdraws!

[kisakis-boyfriend]

I saw you wrote for BSD so I have arrived

Thoughts on who breeding kink in the show? Personally I think poe, chuuya & nikolai are all sluts for it 😞

Author's Note: What a fascinating request 👀 — I wrote some brief HCs on how each character likes to be bred specifically ❤️

Pairings: Poe, Chuuya, Nikolai, Atsushi, Kunikida, Tecchou, Fukuzawa x male reader (separately)

Warnings: Male!reader, dom/top!reader, sub/bottom!characters, breeding kink, rough sex, clingy sex, mentions of knocking the guys up

Poe

Despite his shy nature, Poe prefers rough breeding

Like, bed creaking, sweaty, clingy, completely exhausted afterwards type of sex

He's always holding onto you somehow; clinging to your chest, holding your arms, wrapping his legs around your waist so that you can't slip out, to make sure that your cum stays deep inside ofc

When you're finished, Poe will be pretty out of it. Which gives you the opportunity to take extra good care of him 🤎

Chuuya

One word; DOGGYSTYLE

You will change positions a lot, but you'll end up fucking Chuuya from behind more often than not

Bro is VOCAL. One minute he's growling at you to go deeper, then he's whining like a little girl

He definitely uses his special ability to keep you inside of him. Can't let any cum spill out, now can we?

Chuuya arches his back so beautifully while you rail him. Just, unf 😩

Nikolai

Ahegao face. That is all~

Nikolai is probably the sluttiest out of this bunch, especially when it comes to breeding

Begs for you to fill him with your babies; moaning so sweetly for you and rutting his hips with you like a good boy

He is also the most, uh... forceful? out of the group. For lack of a better term

The kind of guy that would tie you down and bounce on your cock until he passes out

And also the kind of guy who makes you fill him up again because you just have to make sure he'll get pregnant, you know?

Atsushi

Put him in a mating press PLEASE?! 🥺

Our little tiger has a size kink too; so he likes to feel small and powerless when you rail him and cream his little hole 🤍

A mix of rough and soft sex works perfectly for Atsushi. He needs to know that you really love him when you breed him

Lots of kissing and leaning your foreheads together, giggling and nipping at his sensitive neck, whispering how you just can't get enough of his tight ass, etc etc etc

Kunikida

Is it really any surprise that Kunikida has this kink?

He wants kids someday, so of course you need to fuck him deeper and deeper and deeper and deeper and deeper and deeper and deeper and deeper and deeper and d-

Missionary breeding with a touch of humiliation as you turn Kunikida into your pliant cum dump 💛

Tecchou

The most well-behaved out of the bunch (though Atsushi is a close second)

Tecchou begs so sweetly — so needy for you to turn him into your wifey ❤️

Definitely the most passionate out of the bunch too. His entire world is just you! You, as your hips meet his over and over. You, as a river of sticky cum floods his insides. You, as your hands cup Tecchou's face, kissing him for the nth time tonight

Fukuzawa

This old man wasn't even into breeding until he met you

But you showed him how lovely it feels to be fucked stupid, surrounded by his lover's scent on the sheets while you make him feel needed

Also extremely passionate even when you get rough with him

Hand holding, intensely making out, moaning, whining, blushing. All things that you can expect while you knock Fukuzawa up again and again and again