#jesus christ it took me so long

[orenjibot]

GRAPHICS PACK. Ice Cream Summer

For the summer time vibes and ice cream lovers! One of the biggest packs I have ever made due to the amount of materials provided for all of the colors! All materials provided can be used to arrange into a stream overlay (may need some photo editing software knowledge for cutting out things for transparency) AND for use personally in anything you want. Shout out to my good friend, Len, for letting me use her model for the sample image! Please give her a follow on twitter (@tsunderebans)!

Specs

1920 px x 1080 px

8 Colors: choco, strawberry, ramune, green tea, lemon, orange, ube, blueberry

Bonus Parts: ice cream cones, cups, chatboxes

Bonus Parts: Waffle Game Capture

Notes

Free to use (Don't use it commercially to sell. It's okay for stream/video purposes.)

Please contact me if you want to obtain commercial rights to them

You may add text, logos, and images on it

Color and sizing adjustment allowed if you know what you’re doing

Please credit if using! I would like it if you did!

More info in download link below!

» download here « || » PSD download « 

[hinamie]

completely innocuous vash sheet :) fr practice

[blueskittlesart]

My illustration final this semester, based on an excerpt from Neil Gaiman's Troll Bridge!

b&w pages under the cut bc i like them :)

[chonideno]

literally where can the zelda franchise go after totk. this is it. we've reached it. the pinnacle of video game entertainment. the whole dev team should just pack their stuff and enjoy a long and comfortable retirement. whoever decides their team has to follow-up on that with the next zelda game should answer for their crimes at the hague. what the fuck. I haven't even beat the game yet but what the fuck.

and how are AAA video game devs everywhere not losing their minds. how the hell did nintendo do any of that? and on that console?? you mean to tell me I can stack 15 differently shaped objects on top of each other and they don't vibrate violently into the skybox?? you mean to tell me the physics engine gladly accepts whatever I throw at it and holds it all together without dropping a frame while running on a machine that was outclassed two generations ago??? this is not witchcraft it's a grandiose demonstration of mastery over every aspect of game development that casts an immense shadow over every other AAA studio. fuck. fuck!!!!

everything about this game is crazy to me. the visuals are crazy. the soudtrack is crazy. the complexity of all systems and how they interact is crazy. the sheer amount of non-repeating content, NPCs, quests, dialogue, puzzles, environment variety - all crazy to me. every time I boot up this game I am humbled by the monumental effort and obvious love that went into every facet of the resulting experience. no cut corners anywhere. mirror-perfect chrome polish.

it's so rare we get something like that, in any field. I'd understand if nintendo never made a zelda game ever again because how do you follow that. god I hope everyone who worked on this game got the fattest check and the sloppiest head. I'm so happy I get to live in shigeru miyamoto's world

[jimjamjommeron]

Big Ron's errand boy

[cherryssoup]

Prey animal

[televisionenjoyer]

y'all already know what this is about but just in case [x]

[whilomm]

billie joe armstrong: "DO YOU KNOW THE ENEMY? DOYAKNO YOUR ENEMY WELL GOTTA KNOW THE ENEMY RAEH"

11 year old me, nodding: "tigerstar"

[daisydogox]

happy birthday to the anime boy that changed my brain chemistry

[alice-the-demon]

Curious to know more about peddito in your au, whats his backstory, how'd he come to be what he is? Does peppino know about him? Have they met? Is he like a mindless beast or are his thoughts more human-like? Can doise even be killed by peddito in this au if doise is already a demon? I mean you can't die twice, can you? Very curious, would love to know more!

Before I get to your questions it's time for

Hell Tower Lore

So that I can give more context to my answers

Hell is situated in a dimension parallel to Heaven, and it's represented as a huge yet claustrophobic cave with cities in it, and it's divided by four sections in which different stages of Demons end up.

The first stage is Imps, recognizable for the claws, fur, tail, horns and pointy ears. They're the kind of Demons that maintain most of their human traits, and they have different powers depending on the Sin they're most recognizable for. They were humans who, in their earthly life, did some bad/questionable stuff and/or have their moral compass a little junked, but they can be redeemed and become Angels through the help of an Archangel assigned to them.

The second stage is Hell Animals, they lose most of their human traits and become anthropomorphic creatures. You reach this Demon stage or in a direct manner (when you did major bad stuff on Earth) or you get transformed when your behaviour gets worse during your stay in Hell (Pokémon evolution style). They're more difficult to redeem, mostly because they can be extremely rude with everyone and old habits are hard to kill. But through willpower and time they can go back to become an Imp and get them a place in Heaven.

Finally there's the third and final stage of a Demon: the Hell Beasts. They were humans who did unforgivable things (like genocides, destruction of various properties or other stuff) or Hell Animals who sank too deep in their Sin to reel them back in. The Angels call this transformation "the point of no return", for these kinds of Demons there's no chance to redeem them. The Beasts are horrifying, dangerous and gigantic creatures, some with claws or hooves so big to leave prints and others with quills, scales or tusks so big to leave damages wherever they go. They have no love nor compassion in them, their only thought is attack and eat anyone who had the misfortune to meet their black pitch eyes or was stupid enough to venture in the forest with no defence.

The Seven Deadly Sins are the rulers of this infernal place, more powerful than anyone else in Hell but weaker than some high ranked Angels. Together Satan, Beelzebub, Asmodeus, Mammon, Leviathan, Belphegor and (the self proclaimed leader of the bunch) Lucifer rule over the whole Hell, representing the worst in human kind. They all live in a castle at the center of Hell (even though most of the time they fight for the stupidest reasons), their job is to feed the Beasts (to avoid that they exit the forest and eat everyone in Hell) and directing the places each one of them built, which I've talked about previously.

I'll talk about the 7 Deadly Sins in more detail and the creatures born in Hell (Cerberuses, Lava Spirits, Golems, ect) in future posts.

Now, onto the questions you've made:

I don't have a precise backstory for how Peddito became a Beast (mostly because, at least for how much I know, we don't know much about him). So I'll just say that he did some inhuman things.

Peppino doesn't know about Peddito existence.

As I explained before, Beasts have no human thoughts, they only care about survival and eating.

There are two ways to kill a Demon and erase them from existence: or you expose them to the sunlight for a while (unless they're a Deadly Sin, they're immune to the sun's rays) or you badly injure them classic style (the Heaven weapons hurt them more than Earth weapons though).

Fun fact: Angels and Demons blood colours are different from humans, black for the Demons and golden for the Angels.

[boyfridged]

You may have already mentioned this in some of your other metas, and I just missed it, so please ignore this if it's redundant.

Do you think Bruce is projecting onto Jason by pushing him as a Robin? Obviously, Jason wanted to be Robin and was excited about it, and Bruce let Jason do other things, but (if I'm not mistaken) before Tim came into play, solidifying the whole Batman needs a Robin/support to keep him upright, Bruce and Dick becoming Batman and Robin, in the beginning, was also sort of a coping mechanism.

I think there are a few examples of Bruce enabling this kind of mindset. Like in Gotham Knights #43–44 (sorry), every time Barbara brings up Jason's inner turmoil, Bruce refocuses on his ability as a Robin; similarly, when Jason finds out about Two-Face and his dad, he is hurt, and Bruce acknowledges that but then does the same thing, zeroing in on reassuring Jason that he made a mistake but is still a good Robin.

Like, Jason got it from Bruce, but he unintentionally encouraged that kind of thinking.

oh, i definitely think that bruce is projecting on jason and that it profoundly affected jay. and, while every single one of your observations is apt, i would add that what truly made it so tragic is that he projected his own worst traits on jason while being blind to the fact that jay already shared his best qualities.

tldr: bruce projects himself on jason in terms of grief (saying that jason needs vigilantism to work his grief through) and sees his own worst traits in jason (anger) but doesn't see his own best traits in jay (compassion, love, and sensitivity). ironically, jason does end up developing all of the (projected) worst characteristics of bruce (obsessiveness, and relentlessness in pursuit of the respective perceived idea of justice). this happens even though they were barely present in his early storylines, and only ever manifested when jason was scared or lost. later, they truly came to be because of his trauma relating to vigilantism.

and the long, long version, coming with panels and quotes: under the cut.

first i want to say that the following analysis focuses very specifically on bruce's mistakes, but i don't view the overall of jay's upbringing by bruce solely in these terms. from text it is also clear that bruce deeply loves and cares about jay, and that jay enjoys being robin. now that this is clear, let's get to particularities, and start with jay's origin story.

i truly never stop thinking about the significance of bruce meeting jay in the crime alley, the place of his parents' death. there's a lot to be said about it, but here the focus is, of course, on the fact that he sees a little boy, very much similar to himself, angry and hurt, in the same scenery that brought him so much grief. and jay in some ways does appear to be a mirror of bruce's own agonies, as well as a mirror of his own inclination for seeking justice; and somehow, bruce fixates on the first one, while almost completely dismissing the latter.

bruce looks at him and assumes that the remedy to jason's pain and anger is being robin; and he doesn't stop to think about it. (it has to be noted that there's also classism at play, classism that is mostly a result of writers' own beliefs – collins did state in a couple of interviews that that the motivation behind jason's background was to make his introduction into vigilantism seem less offensive, as jason has already been exposed to crime...)

i think, in this context, it's interesting to look at the two-face storyline even closer, and from the start too. in the beginning, bruce talks of jason's 'street' roots and assumes jay would go "down the same criminal road that took his father [willis] to an early death." he also talks of jason making a lot of progress. later, in batman #411, after jason learns that willis has been killed by two-face, bruce comments that jay "has never been like this...listless...almost pouting--"

this all, along with jay's cheerful and diligent behaviour from the previous issue builds an interesting picture for us: because we essentially learn that jay has been overall an unproblematic child. bruce, of course, attributes this "progress" to the training. however, for anyone else, the logical conclusion would be that jay's quick adjustment was simply a matter of finding himself in a safe and stable environment and receiving continuous support and attention from a parental figure. i find it rather questionable that jason's personality softened down because he had something to punch in the cave–– the more intuitive explanation is of course that he was angry and quick to fight when they first met because he couldn't afford anything else and because he was scared. but months later, in a loving home, he can allow himself to drop his guard; and his cocky attitude disappears until much later.

so the rather unsettling picture that we derive is that bruce is training jay to become a vigilante in order to "channel" his (nonvisible at this point) anger into something useful and just. and he clearly links this to his own trauma in batman #416 (that’s already starlin btw), in his conversation with dick, explaining why he took jay in: “he’s so full of anger and frustration… he reminds me of myself, just after my parents were killed.” bruce also mentions that soon after their first meeting, jason helped him and "handled himself well" in the fight, but he doesn't mention that jay has ran away from a crime "school" and intended to stop injustice on his own only because he was ignored.

the theme of bruce comparing jay to himself appears again in detective comics #574 (barr), where it is approached with a much more... critical look, thanks to leslie's presence and her skepticism of bruce's actions. after jason has suffered nearly fatal injuries at the hand of the mad hatter, bruce reminisces on his own trauma and motives. he tells leslie: "i didn't choose jason for my work. he was chosen by it...as i was chosen." leslie replies: "stop that! (...) you do this for yourself... you're still that little boy (...)" then, the conversation steers to the familiar ground and the topic of anger. in bruce's words, again: “i wanted to give jason an outlet for his rage…wanted him to expunge his anger and get on with his life…” and finishes "and instead, i may have killed him."

the recognition that bruce's projection on jason and involving him with his work might have fatal consequences is, as always, fast forgotten once jay wakes up and proclaims that he wants to continue his work as robin.

but to circle back, i think there's something else worth our attention, something deeply ironic, that is showcased in that issue: that bruce has no evidence for jay's "rage." when leslie talks of bruce's past, she recalls his tendencies to get into brutal fights at perceived injustice as early as in school; when bruce talks of jason, two pictures that are juxtaposed, are that of jason fighting as robin and jason... smiling, playing baseball.

so, in the early days of jason's training and work in the field, we see bruce talking of jason's anger a lot; but we barely see it.

that being said, jay is angry sometimes– and i think your observation about how bruce deals with it is incredibly interesting and accurate.

we first see jay truly and devastatingly angry in the two-face storyline. bruce focuses on jay's reaction as robin, which is, in fact, aggressive. but something that he barely addresses is that jason's first reaction is sleeping all day, and not beating anyone to a pulp; in fact, this vengeful instinct seems to arise only when he is put right in front of two-face. and his third instinct, once the rage (very quickly) dies down after the altercation with two-face, is crying, because bruce hid the truth about willis' death from him. jay, while crying, asks bruce: "you have taken me out into combat-- but you spare me this?" in response, bruce lectures jason about how grief inspires revenge, which is, again, deeply ironic, given that jay seeking out revenge seemed to be prompted and enabled solely by the role of robin. moreover, his question suggests that at this point he saw grief ("you spare me this") and fighting as two different things.

the final is, as you said, bruce focusing on making it into a lesson on vigilantism, or, in his own words, "tempering revenge into justice." personally, i think in this way bruce directs jason to bring his grief into the field as a powering force, something that he didn't necessarily have an own incentive to do. the flash of compartmentalisation between his ordinary life and being a sidekick that jay has shown by questioning bruce's decision is lost. emotions are now a robin thing, and they have an (informal) protocol, a moral code. and when jay is confronted with an emotionally exhausting case next – the garzonas case, i believe that the focus on "tempering revenge into justice" is exactly the problem– we don't see jay crying, we see him frantic about finding the solution. this, right there, is bruce's obsessiveness, that in my opinion, was developed in jay specifically as a result of how his engagement with vigilantism combines with his deep sensitivity.

and, needless to say, his sensitivity is all the same as that of bruce – they both can't stand looking at other people hurting, they both wear their hearts on their sleeve, caring way too much – the thing is, bruce never quite acknowledges how they are similar in this matter. instead, he focuses on his sparse bursts of anger, wanting to bring jason closure in his grief the only way he knows it – in a fight for a better world. so, as you said, he focuses on jason's ability as robin.

which just doesn't work for jason. at all. we know it from how his robin run comes to an end: in the first issue of a death in the family (batman #426) alfred informs: “i’ve come upon him, several times, looking at that battered old photograph of his mother and father, crying.”  to that, bruce contends: “in other words, i may have started jason as robin before he had a chance to come to grips with his parents deaths.” he also tells jay that the field is not a place for someone who is hurting; a message that is the opposite of what he's been saying for years now, and something that i imagine was difficult for bruce to conceptualise, because then he would have to question his own unhealthy tendencies. it's a bit late to come to this realisation; bruce's self-projection that caused him to worry so much about jay's anger has already turned into a self-fulfilling prophecy that will fully manifest itself in utrh, when jason does the only thing he was taught to do with grief: try to channel it into justice.

[hikarry]

Okay children, gather around. It's "Spencer Complains and Acts a Little Mad" Time:

I have been raw dogging life for 1 month without my adhd/depression/anxiety/mood stabilizers medication and without a single Therapy appointment

I haven't left my house in 1 month, I haven't spoken to any of my (in person) friends in over 1 month, I haven't seen my family in 1 month, I haven't seen my bloody cat in over 1 month, I've barely left my bloody room in over 1 month, and I've been listening to my bloody voice almost every day for 1 hour so I can finish editing the bloody podcast for over a month

To top it all of: I haven't had a decent night's sleep in about 4 days now (in which I just don't sleep or I have extremely vivid nightmares with my departed mother and/or scenarios where I die over and over and over again but can't speak to ask for help before it happens - fun for all the family, if you ask me) and I might or might not be completely and absolutely going insane, with only Good Omens season 1 (6/6) and season 2 (5/6) and the existence of Crowley/red haired Fire Pokemon David Tennant Edition being my sole producer of any amount of serotonin

How am I alive? Good question. Beautiful genderfluid demonic content can be some very nice very distracting content for individuals that simp for Fire Type David Tennant Pokemon like myself

I am quite sure my only contact with anything mental health related in the past weeks has been my best friend whom is very very annoying and refuses to leave me the heck alone and whom is a nurse and is working extra time to advice my stupid ass the best she can, bless her heart

So, with my personal nurse's permission, I have doubled my sleeping medication for the night and, as Fall Out Boy once wrote for the song "Alone Together" in one of my favorite albums to have ever been created "Save Rock and Roll": I'll check in tomorrow if I don't wake up dead

[flownwrong]

no tether (star trek: discovery fic)

Burnham/Rayner, rated M; tags: post s05e05 Mirrors, PWP, praise kink, ~3200 words

A/N: Fair warning: I'm not very familiar with Star Trek universe. I am here mainly through the misfortune of being obsessed with a certain Canadian actor. So if anything doesn't make sense — you know who to blame.

read on ao3

The hour is just about to turn from late into early when Michael finds him tucked into a narrow nook, in a hallway that's mostly deserted during all shifts.

He's sitting on the floor, tucked into the corner, one knee pulled up, a hand with a drink resting on it. Likely too wired to sleep, too suffocated in the solitude of his quarters. That's why she comes here, anyway. It's rare for them to be off the bridge at the same time; figures that they would end up in the same spot.

She approaches slowly, makes sure she doesn't creep up on him. Rayner doesn't move, eyes fixed on the floor, or, no—his profile is illuminated by soft bluish light. A screen, then.

"Hey," she says, leaning against the wall. "You wouldn't take the chair, but you'd steal my hiding spot, huh?"

"Good morning to you too, Captain." Rayner looks up and raises his glass in a toast. "Hiding spot?"

"Well, isn't that what you're here for?"

His eyes crinkle at the corners. "Oh, I'm just catching up on my reading."

"Kellerun classics?"

His mouth lifts at one side, that quiet pleased almost-smile she never quite expects. "Terran, actually."

She leans down to see, raises her eyebrows. "Odyssey. You're full of surprises."

He shuts it down and shrugs. "A good book can save a life." He gives her a flash of a wink.

Michael laughs, caught off guard. He watches her and takes a sip of his drink.

She lowers herself to the floor and scoots until her back meets the opposite wall. The toes of their boots touch in the middle. He doesn't move away.

"So, what's keeping you up?"

"Could ask you the same question." Rayner's eyes are fixed on her face, intense, and for a second, she struggles for words.

"Nothing. Everything. All of this"—she waves her hand, trying to point it all out, the rest of the ship, the mission—"is new. Like nothing I've done before."

He huffs an approximation of a laugh. "You could say that." He doesn't sound nearly as bitter as before, and it's a relief she didn't know she craved.

Still, she's not sure where they stand on this, where the lines are drawn, here, huddled away when they should be sleeping. She clears her throat.

"The things I saw—in the time cycles, and today."

She tries to think of an explanation. Rayner keeps silent, waiting.

"The could have beens. They're hard to shut out."

He shrugs and looks up, out the viewport. "Yeah. Never did well with those."

"Neither have I." It's late, and they're both exhausted, and she's been through way too much weird to bother, so she nudges his boot with her own. "What are you going to do? After, I mean?"

He hums dismissively. "Does it matter?"

Yes, Michael wants to say, of course it does. I want to know what you're waiting for. I want to know if you'll stay. Instead, she says, "Oh? Nowhere you would go? Home?"

Rayner looks uncomfortable, hunches in on himself. When he speaks, his voice is low, like he hopes she won't hear. "Kind of supposed I'd go out before I go home."

She'd be taken aback, except it sounds exactly like him. "Just like that?"

He gives her a challenging look, a rare one that make his face unreadable. "Would you choose any different?"

Would she? He's thought about this, Michael realises, is used to the thought. She forgets, sometimes, how much older he is. Her thoughts are filled with hope, fear, longing—she hasn't chosen how she wants to go, not yet.

Still, there's something here he isn't sharing. She files it away, out of both curiosity and necessity, and reaches out to squeeze his knee. "I don't believe you."

"No?" His sharp features are tense, his cheeks hollowed like he's gritting his teeth.

"No. For one, it would take the heat death of the universe to put you down."

He snorts. "That's flattering."

She ignores him, goes on while she has an in, "But what I mean is that there's too much wonder in you, Rayner. You don't want to go down fighting. You're out here because you want this"—she nods at the stars—"to last." And there's something you left undone, she doesn't add.

He worries at his bottom lip, one of his minute tells. His eyelashes brush his cheeks, a startlingly gentle image.

Michael tilts her head, trying to catch his eye. "Am I wrong?"

Rayner's still for a moment, then shakes his head, lips a thin line, like it costs him. "No. You're not."

"Yeah." She strokes her thumb lightly across his knee. His skin feels feverish through the fabric of his uniform, and she remembers the Kellerun run hotter than humans. He looks down at her hand, swipes his eyes up, over her knees, her chest, shoulders. When he meets her gaze, very slowly, there's a quiet, almost sweet expectation in his look.

She clears her throat. "You haven't finished your drink."

"You want it?" His smile is soft.

She hums an agreement and reaches for his glass, less than a finger of light amber liquid left in it, and he passes it carefully, his fingertips brushing hers. She expects the drink to be acidic, sweet and excessive in all the ways something called citrus mash should be, since she heard the name about seventeen times today, but it's—wow, it's a whiskey. Strong, fragrant, with an aftertaste she can't place, a sharp burn.

She coughs. "Wow. This is good."

"Fair warning, this one kicks." He looks pleased at her surprise, his whole shape looser, waiting.

Michael shakes her head, showing him what feels like the tenth smile of the night. "Thanks for the heads-up. It's good."

"Yeah? There's more where that came from."

"Not the bar?"

"Oh, no. My quarters."

"Oh," she says, appreciative. "You have a bottle with you?"

"As I learned today, keeping a good bar can prove motivational," he says, dead serious.

"Very practical."

His eyes flicker down to her hands and back. "What can I say, I'm a practical guy."

She chuckles. "Yeah, you are."

They breathe in silence for a little while, just watching each other, and Michael knows it will have to be her call. And, oh—she wants it. Wants to not think about the clues, and failed relationships, and the bridge, wants to feel good and make someone feel good—and this is oddly uncomplicated. If there's anyone on this ship she can trust with this, it's Rayner.

"I could join you. For another glass, I mean." She counts down the steps. Three.

He gives her a hard, no-bullshit look. Waiting for her to cave. When all she does is look back, he says, "I suppose you could." Two.

They get up silently, in sync. It feels good, them on the same page, an already familiar hum, the only new thing in it the simmering anticipation.

One.

As soon as they clear his door, Rayner turns, blocking her way into the room. "Captain."

"Michael," she says. She won't do this in command, not to him, and not to herself.

He nods. "Michael. Do you actually want me to pour you a drink?"

An out, then. For her or for himself, though, she's not sure. She's halfway through a no, not really when he raises a hand, halting her words, staring her down. Fine.

"Yes," she offers, as firm as she can. "Later."

He watches her with narrowed eyes for a second, then turns to go in. She catches his wrist and tugs until he looks back at her. "This isn't part of your job," she says, wanting him to know—he must, but this isn't something she can afford to misjudge.

He barks out a laugh, looking genuinely amused. "That what you think of me?"

"Shush," she says, before he locks down and this whole thing breaks. He looks shocked at the word. "This is not part of your job."

She holds very still until he tugs his wrist free, his mouth twitching in an abortive smile. "Fine." He raises his chin, but his eyes are still laughing.

Rayner drops the empty glass onto a bedside table, dims the lights, disappears into the bathroom. She lingers back, takes it in. She expected his room to be stark, impersonal. It's not. Mostly dark, now that he's turned the warm lights down. There's a soft-looking blue throw, not Starfleet issue, over the bed that's tucked neatly against the wall. An unfamiliar vine with round purple leaves framing the viewport above. A bottle with two matching glasses in the cabinet on the far wall. It's sparse, but nothing like the ascetic box she'd imagined.

He walks back into the room, barefoot, and stops, a little awkward, two steps in front of the bed, not wanting to—presume? Michael realises just then she was hoping—once they got past the questions—for urgent, for tumble into the room, fall into bed, shut everything out sex, and barely manages not to laugh out loud. Good pick of a partner here, Burnham.

So she steps closer and looks up at him. He's tall enough that she's used to it, but up close it's a new feeling. He seems to be holding his breath when she raises her hands to his neck. She undoes his collar and keeps hold of it—she could probably drag him wherever she wants like this. He exhales on a laughter, like he's getting the joke, and folds himself down to sit on the bed.

"Here," she unzips his jacket, slides it down his shoulders, until he shrugs out of it. It's weird to be undressing someone wearing the same uniform. She wonders how long it's been since he wore anything but. She bares his soft undershirt, regulation, same as hers. He smells good, spicy, not unlike his drink. Getting to look down at him—she's struck by his angles, his pale shoulders almost narrow. Nothing like Book.

And here's the truth of it, isn't it? She could say she's getting it out of her system, a distraction from the one thing she can't have, and it wouldn't be a lie, but—she wants Rayner, here. He's sharp, and audacious, and oddly easy to provoke into uncertainty, and his eyes go warm and a little lost when someone—when she's proud of him.

So she reaches out, palm on his cheek, and he turns immediately to mouth at it, slow, eyes fluttering closed. It's dizzying. "Good," she says, has to say, and he shudders with it. She traces the edge of his ear with a finger, light, sees the start of a blush right at the tip. He leans into it. This, here. Michael wonders why he's doing this. What it is he's looking for, or trying to shut out.

His eyes still closed, Rayner opens his mouth to speak—and she drops her knee onto the bed, between his legs, warm and close. His eyes fly open, bright and stunned. She slides her hands back to cradle the base of his skull. The short buzz of his hair there is soft, silky.

"Okay," he says, and moves in, stretching up to press an open-mouthed kiss just below her ear. She draws a sharp breath. Good instincts. He moves lower. Her clavicle. The dip between her breasts. She isn't guiding him. His lips are hot through the fabric covering her ribs, hotter on her belly. He goes to slide off the bed, to his knees, and she strokes the back of his neck, and doesn't let him. He scoffs—of course he does, and looks up with almost comical annoyance.

Michael scoffs right back. "You don't hold back in uniform—this is where you start?"

Rayner laughs then, full-on, a grin splitting his face. She's heard his annoyed laugh, incredulous laugh, hiding-something-important laugh. This one is a first. "Me on your knees for you is holding back?"

Blunt—there we go, blunt is familiar territory, and she raises her eyebrows at him. "Do what you want, not what you think I want, yeah?"

He watches her for a second, like he's considering the concept, then slowly, deliberately sits back, spreads his legs further.

"Good," she says again, presses her knee right where he's—yes, hard for it, and waits out his low, uneven moan.

"Come on," Michael says, shucks everything off until she's left in her top and underwear. He grabs at her blindly then, reaches her elbows, her waist, slides further up the bed and lies down, pulling her in. She climbs up after him, not quite straddling his hips, says, "come on, Rayner,do your part," and he rises just enough to match her, bare but for his uniform top and shorts, allows her hands to settle at his face again. She thumbs over his cheekbones, over the scar crossing his eyebrow, and he spreads his fingers over her lower back, pulls her down on a hard exhale.

She takes his hand and slides it right there between them, says "go ahead", has to grind down on his knuckles as he palms at himself, rocking up into his own hand, holds his face firmly until he's gasping with it. He's slick when she finally gets him out; bites off a curse when she slides down his body. He doesn't feel any different than what she knows—coarse grey hair at the base of a long, flushed cock; soft, vulnerable sack below it. There's so much heat under her touch when her fingers circle him, a vague reminder of his origin, and that's all she gets to file away before Rayner sinks his fingers in her hair, green light, going in now.

He's quiet and almost still as she takes him in, but that's to be expected, and she closes her eyes, goes slow, gets really into it for a while, until he sucks in a shaky breath, squeezes her neck and arches up hard, says "fuck", sharp and meaning it, and "please", and that's so mind-meltingly hot Michael moans around him and can't manage more than five seconds before coming up because she needs to see him, now.

Rayner's eyes are shut tight, teeth bared. His hands slip down her arms, shaky, his chest is moving with harsh, shallow breaths. "God, Rayner," she says, taking him in hand and pumping slowly, "you're—you're good, you're so good—" and he actually keens at that, an odd high sound.

"Stop," he says, "Michael," and she doesn't, and oh, to see what this costs him.

"What do you want?"

He gasps for breath for a moment, shakes his head. Michael sighs and stills her hand on him.

"Rayner. Look at me."

He makes a cut-off sound of frustration, almost a snarl, breathes in, and meets her eyes dead-on, clear and precise. "Fuck me."

She can't help her smile. "Thought you'd never ask."

She rolls over onto her back. His eyes are all pupil as he lands on his elbows above her, and she throws her legs around him, high on his waist, draws him in.

"Wait," he says, "let me," and strokes just the tips of his fingers under her top, watching her carefully.

"Yeah," she says, "it's alright," and he helps her take it off, nuzzles her neck, then down to her breasts. She feels him hard, leaking against her thigh, and she presses her heel sharply into his lower back until he thrusts against her with a gasp, slowly, and again, keeps it up as he kisses her nipples, her shoulder, the inside of her elbow. She groans, because fuck, he's honest about this, wanting her, wanting her approval, and she whispers, "hey, come here already," and then he's inside her, his hips rolling smoothly, stroking in, and she holds his shoulders, murmurs to him, "yeah, that's it, it's good, you feel good, come on," hears his breath hitch. He closes his eyes, and in the soft creamy glow in the room the planes of his face blur a little. His hair is damp at the roots, a soft white lock falling down against his forehead.

Michael rides his steady rhythm, closes her eyes, too, his long, heated body oddly malleable under her hands and heels, and then his breath is suddenly hot and close, and she looks up to see him unsure again, doesn't get it until his hand cups her cheek and he drops his head an inch closer, hovering, waiting for permission. Oh, God, he's so—Michael draws him into the kiss, soft and wet and scratchy with his beard, and he moans into it, sounding so relieved she has to kiss him harder, fists her hands in the back of his shirt and clenches around him until his hips snap forward harder, again and again, and then he's gone.

After—when he's stopped shivering, when he's finished her off with such care she didn't know what to do with it and kept her hands fisted in his hair, holding on—they lie next to each other, on their backs, for long, quiet minutes. It's peaceful. It's what she came here for.

The room is warmer than what Michael's used to. She thinks about dressing, then discards the idea, sits up and stretches instead. Rayner's eyes don't follow her.

"I'll take that drink now."

He snaps out of his daze and looks at her. "Oh. Um, that way." He nods in the general direction of the cabinet. She finally gets to see the bottle up close—thin, pearlescent material, the liquid inside almost sparkling as the light reflects off it.

She returns to the bed with her glass, sits down, hugging her knees. Rayner hasn't moved, watching her from where he's stretched on his back, hands behind his head, bare but for his shorts. She takes a drink and strokes his shoulder, lets herself look back.

There are scars on his body, paler against pale skin, more than he'd get on a ship—even in battles, even in decades. She doesn't know if he was hiding them, and if he was, why he'd show her now, after. He looks calm, steady, but his face is pale and tired, the lines around his mouth more pronounced.

She slides a hand into his damp hair, smoothes it back. "This time, do get some rest, okay?"

"Aye-aye." He catches her hand and kisses it. His long fingers circle her wrist, thumb stroking gently at the base of her palm.

Something sharp shifts in her throat, a fierce protectiveness. This, she knows, goes both ways.

She takes one more chance. "I'd like to keep you, after. As my number one."

Rayner frowns and lets her hand drop. "Let's see how this one goes first."

Michael sighs and shakes her head at him. "You don't have to swear to it. Just consider it." She gives his shoulder a parting squeeze and gets up to collect her clothes.

As she sits down on the edge of the bed to tug her boots back on, he puts a warm hand between her shoulder blades. "Thank you," he says to her back.

"And you." She raises her hand to her badge, but turns back to give him a smile, and, for once, he doesn't look trapped. "I'll see you on the bridge, Commander."

[hugespace]

yall....

[infizero]

the loss of jb2448.info btw has hit me right in the heart. did the hours i spent as a kid reading pokespe on that website, memorizing its layout and visiting it frequently on school computers when i shouldnt be, mean nothing to you?

[calaathmaza]

ID: a digital blue-scale portrait of Shaleän Sevraseched from The Goblin Emperor. she is a middle-aged goblin woman with dark skin and hair, a square jaw, and many smile lines and facial scars. she has bushy gray-streaked eyebrows, and voluminous graying hair fastened with large beads at the ends on both sides. she has smaller gold beads strung throughout her hair, multiple ear piercings on both ears, and a nose ring. she wears a headscarf that trails over one shoulder, and a large coat dripping with beads and fastenings. her eyes are a striking goldenrod and she is smiling calmly. end ID