#not only does it feel like I've seen it but it feels like I've developed complex theories and interpretations of it

[lesbianalanwake]

Severance S2E2:

--holy shit. I see why the season is 10 episodes instead of 9. two episodes to resolve the S1 finale and wind up to the pitch. there was so much legwork in this episode, and so much tension that I could barely sit still.

--I hope they paid Milchick a big overtime bonus in addition to his new salary!!! man did all that in 48 hours!!!

--Mark and Devon.... Mark being in denial about the possibility that Mark S could have been talking about Gemma, when we later see that it's been weighing on him heavily and he needed to talk to Cobel to confront it. it's such a small, small hope.... if he believes in the possibility that Gemma is alive, and it turns out that she is not, it would destroy him completely, and he's already come so close to destroying himself while grieving the first time. but Devon! Devon is so sharp! she knows her brother, and she glimpsed a younger, lighter version of her brother that she hasn't seen in a long time, and she clocked his tone and body language and everything about the situation correctly! and she can't live with the unanswered question of whether Gemma could be alive, because she misses her sister-in-law and misses who her brother used to be! she can't stop thinking about it while Mark is doing everything in his power to not think about it! aaaaah!

--Cobel bookending this episode by being as unhinged and mysterious as ever. we don't even know if she accepted the advisory council position! what is she up to! the final scene is so fucking good because I was like "I bet she's thinking about hitting Mark with her car," and then she screams like a bat out of hell and almost does just that LMAO. and she's still telling him to quit, even though Lumon is doing something significant with Gemma and "Cold Harbor," enough that they need Mark back to finish it, and Cobel knows what it is and wants something from it, and now Mark knows for sure that Gemma is alive because he needed to look Cobel in the eye and ask. I love their weird fucking dynamic. she's so fucking mad at Lumon, but maybe cares about Mark in her own unhinged way?? and his feelings were HURT that she lied to him because he went straight for the only thing that could maybe hurt her feelings a little bit in turn ("I ate your shitty fucking cookies").

--makes me hope that Cobel gets a "villain turned weird ally" arc, and that Milchick is right behind her, because he's already getting a taste of how thankless the severed floor manager position is, getting no guidance beyond "let Kier guide your heart" and having to defend the feat he managed to pull together in 48 hours.

--which brings me to: HELENA. HELENAAA. class traitor arc INCOMING. the "behind the scenes" bit reinforced this too: she is living in a gilded cage (the shot of her on the top floor with the windows acting as bars!) and seeing that her innie of all people gets affection and respect in a way that she never has, and she is enthralled. you can do it baby! I hope you kill your dad!

- I'm glad they clarified that the correct term for complex innie/outie romantic dynamics is "throuple" because Mark/Helly is finally compelling. by itself = eh. as part of Helena's development and possibly some kind of villainous fixation that can't possibly end well no matter how you slice it because Mark/Mark S is also going through a throuple thing with his dead wife who is actually alive, and don't think I've forgotten whatever thing that Helena and Milchick had going on in S1 (which is the only thing I was missing from this ep and hope they revisit) = now we're cooking with gas. not to mention Burt spying on Irving! throuples for days.

--tentatively believing that it really is Helena down there, and they sent her to play the part of Helly R to keep Mark complacent so that Cold Harbor gets finished, because Helly is too much of an unpredictable wild card but Helena is controllable (for now!). which would add another juicy flavor to Mark/Helly. they really did it, they really made the ship pop.

--it is so, so compelling how innies/outies are opposites. Helly is bold and rebellious, Helena is calm and subservient. Mark S is sweet and mild-mannered, Mark is cold and sarcastic. Dylan G is confident and driven, Dylan George is nervous and hesitant. Irving B is obedient and proper, Irving Bailiff is defiant and unconventional. and yet! bits of the other shine through, and we see it more and more, and they're slowly but surely on a collision course.

--the Good Doors interviewer says "you remind me of myself" and looks like Dylan, and I love this show because I can't tell if it's to continue the visual motif of doubling/reflections and show a "what could have been" path for Dylan, or if it's because there is truly something FUCKED going on across this whole town. or both.

--Lumon is in such a precarious position. they're a major global corporation, and they have politicians in their pocket, but there is also a lot of hostility and mistrust from the general public, enough to make a severed employee unhireable. (which further entraps their employees and keeps them dependent on Lumon.... Dylan. 😭) Lumon has to walk a fine line to continue, uh, whatever it is they're doing, without turning the public against them in a way that they couldn't recover from, hence the placating attempts at damage control. but all it would take would be a sufficiently strong spark to light that powder keg.

--because like, man.... I hope Helena and Cobel and Milchick all get their "fuck you Lumon" arcs. god. so many threads poised to unravel out of control and snap with the right push because the line that Lumon is walking is THIN. they do the most to try to control their severed employees, but they seem to take their non-severed employees for granted, and I'm wondering if that will be their undoing.

[twilight-good-yall-dumb]

being on tumblr is knowing way too much about a show, movie, book, etc. that you've had no direct consumption of simply because one or two of your mutuals is currently hyperfixating on it.

[prismatiger]

I keep thinking of how I want to taxonomize Siffrin and Loop bc it feels significant to me that Loop and Siffrin both have inherently diverged from the same Traveler Mold they came from. But because I am like a 7 year old I keep sagely nodding to myself going "ah yes... just like mega mewtwo"

[demilypyro]

So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.

What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.

She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.

The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.

Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.

The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.

What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.

Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.

It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.

[inkskinned]

even 2 years ago people still said autism with a whisper. it was also how people sometimes whisper lesbian, like they're afraid of uttering a slur. autistic was either an insult or it was something terrible, a horrible burden only select people endure. "select people" were usually 9 year old boys and skinny white men.

they are not hispanic young adults with a dog and a life and friends. i can make (sustained, calculated, painful) eye contact. with certain people, i don't even have to count how many seconds i am holding their vision - i can just look at them. i can wear clothes that bother me, i will just have a worse day than usual. i might cry about any changes to my schedule - but change is scary! this is normal!

when i was 16 it was OCD. i mean that was the thing everyone said. i totally have ocd. they would arrange 6 colors of gel pen in rainbow order (no worry for indigo feeling left out) and they'd be "so ocd" about it.

if you struggle with intrusive thoughts, be careful at this next paragraph, but. at 16 i developed a compulsion that involved self-harm. my ocd was convinced i was simply forgetting that i'd hurt someone terribly - a thought that persisted for no clear or delineated reason.

at some point i will probably write about how the idea of "morally pure thoughts" was hell for me and others with ocd, but this was the odd dichotomy for many of us: they liked our "aesthetic", but were genuinely repulsed by our lived experience. "intrusive thoughts" now means "cutting your hair in the sink" instead of talking yourself down from believing horrible things. "so ocd" is a label without any true understanding.

it's something i've talked about before - in multiplicity - but i firmly believe in the veracity and necessity of self-diagnosis. i think it saves lives and it saves tragedies from occurring. as someone raised in a house that wasn't safe, self-diagnosis was, for many years, the only viable option. 15 and honestly googling: am i depressed or are there demons affecting my behavior.

but it is not genuine self-diagnosis anymore, most of the time. it is a strange, blanched version of that whispered word autism. now certain traits are constantly seen as "autistic" - any passing intense interest. any flubbed social interaction. people say it while laughing - a touch of the 'tism.

and i like the acceptance! i do. i like that people are talking about it. i like that if i self-identify, more people speak up and say me too, bitch. but there is something-else quietly happening, the way it happened to OCD. the quirky, "fun" parts have been washed and sanitized and removed of all suffering. now it is just something that makes you "a little bit silly."

it took me 27 years on this planet before i learned to make friends. something about me just seems incredibly odd, i guess, some kind of radiation monitoring. someone once (in a way that was almost friendly) told me i am doing the right things, but in a way that's off-putting. i have scoured myself raw attempting to be charming.

someone on tiktok does a deep dive into their particular passion. the top comment says "what kind of autism is this lol". like we are a breed of animal. like it has no influence on our experience. like our life is a fresh breeze, an open meadow.

more often for me, life was a drowning.

[emeryleewho]

There's a huge difference between redemption and humanization. I feel like a lot of "redemption arcs" aren't actually redemption at all, they're just attempts to humanize the villain so that they seem multi-faceted, but people read them as "redemption arcs" and think that that is meant to justify all the evil they've done before and negate whatever made them a villain in the first place. I think true "redemption arcs" are actually kind of rare because true redemption would take making the villain acknowledge their crimes, reevaluate their actions, actively choose to do better, and then proceed to make amends and become a better person, and that would this take more time than most stories are allowed to give their characters.

I've also seen people argue that a character has to be poised for redemption from the jump for it to work because once a character does something "too bad", they can't be redeemed. I completely disagree because redemption isn't justification or forgiveness, so no matter how horrible a character's actions, they could choose to become better, but because a lot of people (including writers) think redemption means "erasing the character's flaws and making it so they did nothing wrong ever", a lot of attempted "redemption arcs" just end up erasing a character's entire history or justifying every evil thing they've ever done. And yeah, in these cases, the only way to make a character go from a villain to a perfect cinnamon roll with no flaws *is* to have been planning it from the beginning and make sure they never do anything that can't be explained away later.

TLDR: real redemption arcs require a lot of self-awareness, patience, and growth, which are things that are rarely actually allocated to villains, and that's why real redemption arcs almost never get executed. The reason people think redemption arcs are overdone is because there are so many attempts to either humanize a villain that get misconstrued as redemption or attempts to blatantly erase who a character was in the name of "redemption", which is really just poor character development.

[miraculouslbcnreactions]

Since you've mentioned Scarlet Lady in one of your posts, what's your opinion on it?

I've mentioned before that I'm a big Scarlet Lady fan, which is the only reason that I'm comfortable answering asks like this one. I don't publicly criticize the content of hobby creators. That's wildly inappropriate! Punch up, not down.

The linked post was a general discussion of the adaptation process and how @zoe-oneesama did a fantastic job, so for this one, I'm just going to do some general gushing because I do actually like praising and enjoying things!

Scarlet Lady's chosen format (comic) allows it to have this wonderful conversation with canon where it can rely on the framework of canon to tell it's own story while also using canon for jokes and meta commentary. This means that Scarlet Lady is about as close as fan content can get to a direct reboot because it's able to have moments like this one from the comic's first post:

[Image description: Adrien standing in his room after transforming into Chat Noir for the first time. He is beaming and his eyes are shining with excitement as he exclaims, "This is gonna be awesome!"]

A single picture that communicates everything we need to know about Adrien getting his miraculous. When I've done this same thing in fanfic, I had to write out the full scene because that's how novels work. You have to give the full picture. With a comic, you can just quickly acknowledge this thing that we all already know and then move on to the new stuff. A picture really is worth a thousand words! (Or, in my case, more like two thousand...)

This allows Zoe to keep the same akumas that we get in canon without her story feeling like a boring rehash because she can focus on what's different in her version. A novelization of the same content would have to show both the stuff that stays the same and the stuff that changes for it to be coherent. That's a lot less fun to read and write. It's why I basically never revisit canon akumas in my own stuff. It's just too derivative for the written word.

This is one of the big reasons that I loved Scarlet Lady. Because it was able to have that more directly conversation with canon, it was able to take canon and say, "hey, why don't we embrace the tone that you established in season one and retell the story with that vibe?" That's something that I desperately wanted to see, but that is totally unsuited to my chosen artistic form. It couldn't be a novel. It had to be a comic.

If you want to know what a true formula show version of Miraculous would look like, Scarlet Lady is it. It does everything that Miraculous should have done:

Sticks to a lighthearted tone where nothing is ever super serious

Keeps Gabriel entirely unsympathetic

Has slow character development and background hints at a bigger plot as the only serial elements, allowing the individual episodes to be their own story while never feeling incomplete or rushed

Allows characters other than Marinette to shine while keeping Marinette as the clear main character

Makes Adrien narratively important

MAKES THE LOVE SQUARE CUTE SO I CAN ACTUALLY SHIP IT

Understands that Lila and Chloe can't coexist as antagonists

Reverses the love square, which is the best way to tell their story. Yes, I will die on my "love diamond" hill. It's a good hill. Come join me. I'll bring cookies.

I could keep going, but you hopefully get my point. While Scarlet Lady is certainly not the only way to do a formula version of canon, it's proof that a formula version does work! You don't have to go the serious route for Miraculous to be successful.

I want to take some time to gush about the ending, but I don't want to spoil it, so I'll put that gushing under a "read more" in case anyone hasn't seen it. I'll finish out this less spoilerish section with this:

I feel like some people are surprised when they learn that I love Scarlet Lady because - as some of you have probably picked up - it is quite different from my ideal version of canon. I'm not sure why that would stop me from enjoying a thing, though. It's important to remember that our personal ideals are not the only way to tell a good story. There are lots of ways to take what canon gave us and make something wonderful! It's part of the reason that I enjoy being in a fandom.

If I only wanted to see my ideal take on canon, then I'd stick to writing/imagining my own stories. But I don't want that! I like seeing alternate takes, too. Scarlet Lady is one of my personal favorites. It's completely different from anything that I'd ever think to write and that's why I'm so glad that it exists! I like being entertained just as much as I like creating my own entertainment and I don't want to only read stories that look like something I'd write. That's boring!

Spoilers below:

I've mentioned before that there are many, many ways to properly handle Chloe's character and Zoe did such a good job with her take on that! Chloe isn't absolved of all the things she did wrong, but she's also treated as a young woman with the ability to change.

While the comic bares the name of Chloe's alter ego, she was the never the main character. She never went on a journey. The story kept her to her shallow season-one self: a petty brat who just wanted attention. It did this because that's who Chloe was in canon and who Chloe needed to be for the comic to work.

The first time we see any complexity from Chloe is in the comic's final few episodes, which was absolutely the right call for Zoe to make! In a recent post, I talked about how the end of a formula show is the only time when you can break the formula in catastrophic ways and that's what Zoe did. She kept Chloe static until it was time to end the story and that's when the formula breaks. That's when Chloe gets depth because, once she has depth, the formula doesn't work.

That depth is not used to redeem Chloe, but to show us that there's hope for Chloe. That this petty brat who we've been dealing with has some serious issues and needs help. Help that she's going to get far away from the people that she's hurt because her issues aren't an excuse for what she's done. They don't erase the harm that she caused. At the same time, understanding her issues makes us hope that she can be better now and Scarlet Lady took a moment to give us that hope. To show us the START of Chloe's true story.

That is the kind of ending that I have wanted to see in so many properties!!! It was so wonderful to finally get one that did this right. A story that understood that full redemption to the team and damnation to death/suffering are extremes on a scale of possibilities. You don't have to go to extremes! You can fall in the middle and the middle is a perfect, natural place for Chloe to land in this kind of story. Fully redeeming or even fully damning Chloe simply doesn't work in lighthearted formula content. It's too big a lift as canon has already demonstrated.

I also loved Zoe's take on Emilie. I've mentioned that I don't like evil Emilie in part because it makes her revival feel like the start of a new story. She's back and she'd bad, so we have to take her down now! But I don't want that. I want the story to end when Gabriel is stopped. Zoe does this by giving us an Emilie that is another perfect middle ground. She matches canon's uncomfortable implications without feeling like a true villain who is a threat to society.

[selvnite]

Really hoping “the Mandalorian can be anyone” isn’t a way for them to write off Din Djarin as a character because writers/directors/D*sney can’t decide/agree on a coherent story (for him or Mandalore tbh) or compelling character development especially when the show is built on his character (and Grogu) and in subtitles he is still refered to as ‘THE MANDALORIAN’ and known by other characters through that moniker or ‘Mando’ like what???

[mrpenguinpants]

Sakura, did they...set off your romance sensor?

—  "Oh, listen, this boy here…whenever he senses anything romantic…he goes beet red in the face!!" - Tasuku Tsubakino (Ch.66)

— Hayato Suo, Hajime Umemiya, Jo Togame

[Masterlist]

Wow, my windbreaker brain rot has shot me into a whole new timeline where I can sit down and write. Not gonna lie, not my favorite but it is what it is. I've beat my first fic for a fandom nerves.

Hajime Umemiya

When Umemiya had called a rooftop meeting, Sakura had been through them enough to know what to expect. Umemiya would either show up late or be completely off-topic until someone, mostly Hiragi, stepped in to direct the meeting to its actual purpose. Most of the time, the distractions would be on his plants or his giddy plans of having another barbeque with everyone. It used to be annoying, Sakura once believed the reason why Umemiya was so unserious was because he didn't care. But he knows better now than to take that carefree smile on the surface level. Deep down, Umemiya is a great leader who knows when it's time to get serious.

But this...

Sakura's cheeks are already turning pink.

This is a bit too much for him. He hasn't leveled up enough for this.

"The Three Sisters is a method of gardening that involves planting corn, beans, and squash together. The corn provides support for the beans and squash, the beans add nitrogen to the soil, and the squash's sprawling vines create shade and discourage pests too. It's really quite fascinating, don't you think so Ume?" you ask, lightly petting the leaves of his most recent tomato plant sprout. Your eyes downcasted as you thumb away bits of dirt that happened to be blown by the wind onto the greenery. Perhaps it's because you're one of the few people who entertain Umemiya's rapid obsession with his garden, even going out of your way to tell him facts to better his plot and compliment him on his efforts. Heck, Sakura has seen Umemiya crying because Nirei has told him that his saplings look bigger each time. While Sakura does not doubt that those feelings and expressions were genuine, the look Umemiya is giving you, a look you're not even seeing, feels different. Umemiya himself is different.

"Yeah..." Umemiya responds in a soft tone, his voice almost a whisper. Their usually talkative leader who won't shut up for half a second, who talks over people, is currently so distracted that it's kind of embarrassing watching him. He's been staring at you, eyes zeroing in on your fingers as they brush against the leaves, almost entranced by the sight. Sakura would give anything to leave right now, this second-hand embarrassment is too much. Luckily, Umemiya finally seems to register that you and he aren't alone despite the fact he was the one who called the meeting in the first place. His head perks up confused, hands on top of his knees, as he's greeted with varying expressions from his grade captains. Hiragi in particular looks like he's having both a stomach ache and the urge to slap the back of Umemiya's head. The urge is only partially restrained when you also look up, sending them all a little wave. Hiragi isn't going to slug Umemiya if you're there to see it, it's the pride of a man to not get beaten up in front of his crush.

"Oh shoot, you're all here already? Why didn't you say anything?" Umemiya whines, standing up while dusting his pants free of any lingering dirt. He extends a hand to you, not before rubbing his palm furiously on the back of his shirt, to help you up, "I'll see you later?"

"Mm, sure. Good luck with your new sprouts. Remember to remove the bottom leaves once the plants are over 3 feet tall. I'll be upset if they develop fungus issues," you pat Umemiya's cheek gently, ignoring the way that Umemiya completely melts openly at the gesture. You turn to nod at the rest of them, offering another wave goodbye, as you pass them to exit the rooftop. The resounding sound of the door closing finally sets them back on track.

"We did," Hiragi speaks up as soon the vibrations in the air fizzle out with an exasperated expression, referring back to Umemiya's first question, "You were too busy staring. We've been here for almost ten minutes, you idiot."

"Sorry, sorry, my bad," Umemiya laughs easily, his hand rubbing the back of his neck. Although he's been clearly called out, Umemiya doesn't seem the slightest bit ruffled. Sure, he looks a little bashful but Sakura doubts that he'll tone it back much to the embarrassment of any onlooker. Maybe one day, he'll be able to look that happy with his own feelings on display.

A sudden clap has Sakura jolting back to reality, Umemiya's loud voice returning back to something familiar, "Now then, come sit! I prepared some snacks for us all to share."

Everyone else seems used to Umemiya's behavior and they easily follow him, completely disregarding your and Umemiya's interactions as if they never happened. Sakura doesn't really get it but if everyone else is unbothered, it'd be seriously uncool if he said anything. He lets out a sigh, whatever. It's none of his business anyway.

"Sakura, why are you blushing?" Nirei, the bastard, pipes up behind him. Suo, the even worst bastard, laughs behind his hand like he's some rich Victorian lady.

"Huh, no I- I'm not." Sakura's cheeks went from pink to red, now that he's been caught. He looks away, avoiding eye contact, "S-Shut the hell up!"

Hayato Suo

"Mr. Customer, if you're dissatisfied with our menu, you're more than welcome to leave."

Sakura blinks, head jerking up as he crosses the threshold of Café Pothos. Initially, he assumed those words were directed at him even though it wouldn't make sense. He quite likes the menu despite only ordering the same thing each time. But no, when Sakura looks up it's to a rather unexpected sight. Suo sits at the bar counter, back ram-rod straight and his hands folded in his lap, with that ever-pleasant smile on his lips. Across from him stands a worker Sakura has never seen before. He always assumed that Kotoha was the only employee, but today seems to be full of surprises. A green apron with white ties, sleeves rolled up to the elbow, and hands fisted against the hips.

"The bakery across the street would love to hear your complaints, Mr. Customer."

---

There is something about the new worker and Suo that keeps Sakura glancing back at them after he's sat himself in a secluded corner. Perhaps it's because it's a new face he has yet to meet at a place he frequents so often. It's normal to be curious right? Or maybe it's Suo being here alone. He's never seen the man "out in the wild" before. They aren't even looking at him, Suo hadn't even looked up when he first opened the door although Sakura is sure that Suo is aware of him. He's creepy like that. The new worker, however, whips an annoyed glance at Suo before letting out an irritated huff, arms crossing over the green apron, and glaring down at Suo’s smiling face. A face that would remain ever-pleasant in any given situation.

Regardless...

"Is this your version of service? It must be hard on the customer," Suo chuckles, a slight tilt of his head that bounces his tassel earring. Suo's laugh, however, causes Sakura to feel a hint of surprise. It's not a laugh he expects the man to give, yet at the same time, it suits him.

"That's because you're a terrible customer and a pain in the ass." The worker sneers, leaning in so the two of them are face to face.

Suo seems to be difficult for anyone to handle.

"It's busy today," Kotoha says, appearing out of thin air and scaring Sakura half to death. A plate of steaming omurice slides in front of him because he really does only order one thing here. It's not a great conversation starter, but it's nice of her to break the odd tension that has settled over the cafe. Kotoha is also looking to the side, watching the scene of her co-worker and Suo bickering and arguing. Passive aggressive comments are being flown out, scathing remarks padded with polite voices, so much so that the two of you don't seem to register anyone else around. Completely wrapped up in your world of irritation versus amusement.

"What…are they even arguing about?" Sakura chances to ask, his eyes still glued to the curve of Suo's smile, red eye focused solely on you. His hand idly reaches for his spoon, scooping up a bit of rice and egg, yet it hovers in the air ideally. Suo has his head tilted and is leaning somewhat in the worker's space. His eyes don't stray, watching each shift in facial expression carefully to gauge whether his words are having their intended effect. He looks like he's having way too much fun.

"Oh, that." Kotoha giggles, placing her palm on the table. She too looks like she's having way too much fun, "They always go back and forth like that. It's like a game of cat and mouse with those two. They're both stubborn as hell so it's a constant power struggle between them. Although, I wonder what they're arguing about this time. They always bicker at each other when we change shifts."

Kotoha shakes her head, a fond smile on her face. She glances briefly at Sakura before her eyes drift back to the other two. She raises her hand, finally cutting the bubble between you and Suo.

"Hey, I'm back from break. Thanks for covering for me," she calls, waving her hand in the air. The frown that was permanently on your face melts away when you break eye contact with Suo, returning to a more neutral blank look. You only nod to Kotoha, flashing up a thumbs-up, and you move to head back to the kitchen. But not before sticking your tongue out at Suo over your shoulder as you disappear through the doorway. Sakura blinked surprised, he had somewhat expected a different reaction than something so...tame. His eyes drift to Suo and he can feel his cheeks heat up.

He doesn't think he's seen Suo look happier.

Jo Togame

"See, you peel off the seal on the cap. Remove the ring from the little plastic piece you use to push the marble. Then, with your thumb, press down, and poof, the marble drops and you can enjoy!" you grin as you move slowly for Sakura to see your hands with each instruction. The fizz of carbonation and the clink of the marble hitting the glass amplified louder in the abandoned auditorium. A few other shishitoren members are loitering, but only you and Sakura are sitting up on the edge of the stage. After the embarrassment of not knowing how to open the ramune Togame had given him, he sought you out to explain it to him. Sakura didn't think he could stomach it if he went back to Togame again for help. He follows your movement, his fingers removing the thin seal. Popping the ring off the marble pusher, and with his thumb, pushes on the marble. His thumb slips a few times, but you're patient as you coax him to try again. With his third attempt, he feels the marble give, the rewarding sound of bubbles popping.

"Thanks..." Sakura mumbles, a faint blush on his cheeks as you cheer your ramune's together as you take a swig.

"No problem," you say nonchalantly, leaning your weight back on your arms. With the bottle held in your hand, you watch Sakura, who is intently staring at the drink on his own. The silence between you isn't exactly uncomfortable, but you can sense the slight embarrassment oozing off him. "Soooo... how's it taste?"

He gives a soft hum before taking a small sip, the fizzy liquid leaving a tingling sensation on his tongue. It's not as sweet as he thought it’d be. It's rather subtle for a soda. He takes a longer sip this time, the fizz tickling his nose and bubbles popping against his lip. Looking at you sidelong, he can see you already staring at him excitedly. You weren't kidding when you said you were a big fan of this.

"It's sweet, I guess," his voice soft as he shrugs. A few strands of his white hair fell in front of his face. His eyes glance up at you as you stare at him intently, waiting for him to continue. He awkwardly bites the inside of his cheek. It still feels weird having people who actually want to hear his opinion, even if it's as small as a drink. "A bit strange… The flavor is nice, but the fizz is new."

He takes another sip, careful with the angle he tilts the bottle lest the marble block the opening. He doesn't really understand the appeal of the marble. It's a nuisance. The fizz was the best part of the soda, but the clinking made it impossible to drink it quietly. Besides, he holds the ramune bottle out, how the hell do you even get it out? Does he need to throw it against a wall to break the bottle? He doesn't want to get broken glass everywhere since someone could accidentally step on it.

"Is the marble irritating you?" you ask, laughing quietly under your breath to not set Sakura off into another tomato-faced explosion.

"No!" he answers with a quick hiss, cheeks flushing. He can feel you stare at him as a smirk dances across your lips. He can already envision the teasing you’re concocting to make him react. He gives another soft huff, refusing to look at you, as he fidgets with the bottle. He doesn't want to ask you to help again. He already feels like a helpless idiot. Instead of commenting, you swing yourself upwards, planting your hand on your knee. The other hand, wrapped around the bottle, moves to your lips as you down the rest of your drink. The fizz of bubbles pops in the air while Sakura looks at you bewildered. Weren't you supposed to drink carbonated drinks slowly or you'll stomach hurt? Did you become immune or something from drinking so many?

"Come on, let's go. I still haven't finished my ramune 101 class," you wipe your mouth with the back of your hand, winking over your shoulder which sends Sakura into another pink mess, as you slide off the stage.

"W- What do you mean we’re not done?" he stammers quickly, flustered as he scrambles up to follow you. He feels a bit dizzy from going from a sitting position to standing too quickly. He grips the bottle in his hand and takes a few quick steps to catch up to you as you stride to the doors leading outside the auditorium. You laugh again when he rushes to catch up. His quick reaction time betrays his small stature. It's kinda cute.

"It means I'm gonna teach you how to get the damn marble out, genius" you tease, shoving his shoulder as you reach the doors. Opening them, the two of you were met with the cool outside air. It's refreshing after being indoors for so long and the auditorium has gotten you both hot and stuffy. Hence the initial ramune drinks. You quickly take his hand, ignoring the screams, as you drag Sakura to the side of the building. "Togame! Are you sleeping still?"

"Huh?" a tired voice answers groggily from the other side of the wall. Togame is sitting on the ground next to the wall with his back against the auditorium. He has his legs stretched out, his head leaning back on the wall, rubbing his eyes to clear the ever-constant droop in his eyes. He looks as if he is napping before being rudely interrupted, "I was..."

"Oops. Hehe, sorry," you chuckle, hands raised up in a mock surrender although you don't particularly look apologetic. To be fair, Togame doesn't look upset either. Only gives you and Sakura a sleepy smile and nods as he raises his arm high to stretch. His green eyes drifted to the bottles of ramune in your hands with a curious tilt of the chin. In response, you beam at him, rattling the marble inside the glass bottle before handing it to him. "Please, if you could."

Togame snorts as he takes the bottle. There's a hint of playfulness in his tired eyes as he shakes the bottle a few times, letting the marble inside thump against the glass. It's funny watching the marble rattle around. It reminds him of a little toy marble maze he had as a child. He flicks his gaze to look at Sakura, who stands off to the side stiffly. The poor kid looks ready to bolt at any second when given an opening. His own half-finished bottle lays limply in his hand, the marble reflecting off the sun's light.

"You know you just have to twist the cap in the opposite direction right?" he says, wrapping his fingers around the blue lid and twisting the cap off. Turning the bottle over, he catches the marble from the opening into the palm of his hand. He extends his hand, sliding the marble into your waiting ones. "I know you're strong enough to do that."

"Yeah, but my hands get cramps and it's impossible to move it!"

"I don't think that's how that works...But if it really is too hard, you can keep coming to me."

Sakura stands by, feeling out of place as you go back and forth with Togame. Yet, he doesn't feel like an intruder this time, merely an observer. He looks down at his own bottle, hands moving to twist the cap off while making sure he doesn't spill the drink.

It's easy. It pops right off with barely any effort. Sakura has quite literally seen you throw a man double your size over your shoulder.

The marble reflects his face messily, but there's a shine of red glinting off the surface.

[bo0tleg]

One thing I like about Top Gun (1986) is how believable the development with Ice and Mav's dynamic is.

I've seen a lot of the "Rivals suddenly become buddies after traumatic event together" in media, but I don't think I've seen it done better than in Top Gun. Mostly, I attribute it to how much build up it has.

Most of the time, the 'Rivals' hate each others guts throughout the entire movie/series and then they go through an extremely traumatic event that binds them for life and shifts their entire concept of each other. Ice and Mav never once changed how they saw each other, it just changed their understanding of it.

Ice saw Maverick as dangerous and Mav saw Iceman as stuck-up and commanding. And they weren't wrong, by any means.

From the beginning, they have tension between them because of how different they are. And it ends up in the audience seeing Ice as the 'Antagonist' because that's how Mav sees it, and we're seeing it from his perspective as the protagonist. But Ice was never inherently wrong, in fact he was right.

Other than his first scene, Iceman always has a point in what he's saying. He's criticizing Mav, not insulting him. Sure, he does it in a brash way because masculinity, but he's not trying to insult him, he's trying to knock him down a peg and wake him up to reality. All Ice wants is that he starts to act as a team player, start caring about everybody's safety AND his own, rather than being reckless for the sake of being reckless. But Mav sees it as an insult because he can't process criticism in a healthy way (due to how he grew up). The same thing happened with Charlie, for the record.

And so the strife between the two begins. What I like about it is how it bleeds out of them over time, becoming more settled as the movie goes on. In the locker room "You're dangerous" scene, the tension is palpable. It's obvious they're agitated by each other, and feel the need to prove they're the correct one.

If you pay attention, this whole... demand for superiority goes away as time progresses. They're fine with each other's presence, it's not like they're constantly at each others throat all the time. In the shower scene, Ice dropped all of the aggression and competitiveness from his tone and is instead just laying out what he thinks. He's not undermining Maverick, he's not lecturing him like a child. Iceman is just telling Maverick exactly how he sees the situation in hopes that it would make him realize what the fuck he's doing, but with little hope that it'll actually work.

That doesn't mean Ice is always correct either, he doesn't understand why Mav acts the way he does, thus fails to take into consideration the emotional trauma behind it. Which only causes even more strife.

The entire time, Iceman isn't being a dick for the sake of it, he just wants Mav to stop being stupid (by his standards). And Maverick doesn't understand it because all he gets from what Ice says is insults.

Maverick isn't good at understanding what people mean to say if it's implied, you need to say it to his face. This is the reason he stayed quiet in the shower scene, because Ice finally laid everything out in simple words that he can understand without making it sound like a dick-measuring contest.

Thing is, the tension mellows out. At the beginning, you could see the tension and cut it with a knife. By the middle you can see them getting used to each other without jumping to constantly trade jabs (namely: the volleyball scene, it's just a bunch of guys being dudes, and the scene where Charlie says that Mav flew recklessly in front of the whole class, Ice doesn't comment on it in any way). Over time, they've settled down into their tension without needing to address it all the time.

Then Goose dies.

And the tension between them is still there.

Just because Goose isn't there anymore, doesn't mean their whole dynamic vanishes all of a sudden. You can see their hesitation towards each other (especially Ice), and that's great! It demonstrates that Goose dying doesn't magically resolve their problems with each other in solidarity.

Ice tried to give his consolations to Mav, and is awfully awkward about it. You can see on his face that he wants to say more, but doesn't because he knows it's not his place given their history. And not much is said, but a lot it communicated. (Val Kilmer is a killer actor for this, OH MY FUCKING GOD BLESS THAT MAN)

Even in the graduation scene you can see how out of their depts they really are with each other. A stilted congratulations, that was it. But they're trying, and that's what matters.

A scene I think gets overlooked a lot is the scene right before the Layton, where Ice expressed his worries about Mav to Stinger, and Mav heard him. Because I feel like that was a shift that was more drastic than the Layton itself for them.

What Ice was doing in that scene wasn't doubting Maverick's flying abilities, it was his mental health. Sure, he passed the psych eval, but that means next to jack shit when in a real combat situation so close after his backseater dying. And Ice might be worried that he's gonna be left hanging, but with the way he was speaking I'm more inclined to believe he was more worried about Maverick's wellbeing than himself. Ice almost looked resigned. He knew it was gonna get dismissed because that's the military for you, but he still wanted to try to vouch for Mav to stay groundside, if only to keep his mind at bay.

But Maverick heard him, and as usual, he read it as an insult. He wasn't wrong to assume Ice didn't believe him capable of flying the mission, which wouldn't be a lie, but failed to realize that he had more than one reason to want Maverick on the ground rather than in the air. And for the first time, Maverick believes him.

Up until this point, Mav dismissed all of Ice's so called 'insults' because he was certain in and of himself. But now he isn't anymore.

And it affects his performance in the air. I'm not saying he was as shitty as he was at the start of that combat because of what he overheard, but I am saying that it certainly didn't help matters in the slightest.

So their weird 'stepping-on-eggshells' situation is all over the place by that point. Because they started to care about each other despite not being what one would call proper friends yet. It's establishing a potential friendship by implying that 1. Ice cares about Mav's wellbeing and 2. Mav cares about what Ice thinks.

On the ground, they have the wingman exchange, and their suddenly buddy buddy. Thing is, it wasn't sudden at all.

They've been setting this up the entire fucking movie.

Going back to what I said at the beginning: Ice thinks Mav is dangerous and Mav thinks Ice is stuck-up and controlling. After the Layton, they still think those things because they weren't wrong to begin with. What changed was that instead of seeing it as something that pitted them against each other, it was seen as something that simply was about the other, and that there was no changing it. It could be good.

Mav being dangerous could be good and Ice being stuck-up and controlling could be good, because those were just traits of who they were. By the end of the movie they didn't change how they saw each other, just how they interpreted each other.

And it was built up during the entire fucking movie.

There was a reason to why they acted the way they did with each other because of the stilted interpretation they had of each other. From rivalry to friendship (and perhaps more later down the line), it's glaringly obvious throughout that it wasn't a sudden shift, it was exponential.

That's why I think it was so well developed, because you could see it coming.

[fishnapple]

🔞 Channelled message:

The first time that they feel desire for you & their fantasies

(lover/partner/future spouse)

This is an old reading, I actually have this type of readings stashed away in my draft from months ago but could never find the right time to post them. So here is one of them. Enjoy.

Disclaimer : Contain mature contents. Minors (under 18y/o) do not interact.

This is a general reading meant for multiple people. Take only what resonates and leave out the rest.

Your feedback is much appreciated. If you find the reading resonated with you, leave a comment, I’d love to know 🎐

About me | Masterpost

Book a reading with me - KO-FI (→ personal reading)

AGATE

Are you generally this flirty and aggressive with other people or only with me? I'm worried. Other people shouldn't be able to witness this side of yours. Am I a possessive person by nature or I'm only like that towards you? I don't know anymore.

I was perfectly contented with my daily life, structure and routine bring peace to my mind. I could be a very repetitive person, don't find me boring, I won't be like that with you. Do you know why? You jolted me out of this safety shell and plunged me into a strange land by that playful and straightforward way of yours.

The moment you came closer to me with that broad smile and that heat, oh, that heat, I could feel it in my skin even when you were not touching me at all. Thanks to you, I've discovered that I have the hot for aggressive people, or it's just you. I imagined you grabbing me and bestowed me with a passionate kiss, then whispered into my ears how much you wanted me. It sent a shiver down my spine. I'm not gonna lie, I felt instantly aroused, I hope that I didn't make a fool of myself in front of you. Just know this, I will have no problem getting aroused whenever you initiate it.

You protested that it wasn't how you behave? Well, it's true, you weren't exactly that sexually aggressive towards me like that, not yet, not in the beginning. You probably were just having some fun, playing some games, tackling some creative projects, or recounting some fun stories while I looked at you and wished that passion of yours would be directed at me instead.

You were so brilliant, a walking flame. You awaken my desire like lightning striking down a tree. My mind went into fantasy land and imagined what it would be like, holding you in my arms, naked, both of us, our chests pressed against each other, touching that soft skin, both outside and inside. What we could discover about each other, what we could experience together. I wanted to be risky, to pour all of my desires on you, to taste you everywhere, to do it until we're both overwhelmed, to see where the limit is, and push through it.

Another thing that I have to confess is that at that time, that feeling was pure lust. I hadn't developed romantic feelings for you yet. But my desire for you will haunt me, I won't be able to decipher the reason. Until someday, when I finally looked deep into my feelings, after questioning it thoroughly, I will arrive at the conclusion, the inevitable, that you are the one for me.

Note: this person will develop sexual desire for you when they see you putting effort into something creative, when you were having fun, showing jest and passion for life, being assertive in a playful, flirty way. It may be a random moment, not a big event. That attitude will be a contrast to their usual way in life, so they will find it exhilarating and freeing. That will also affect their fantasies about you, wanting to be free, having no limit, indulging in each other, touching your deepest place. There could also be some exhibitionistic desire, somewhere a little open with the risk of being seen. Other than that, they don't really have any specific kink or particular fantasy. They are mostly go with the flow style.

FLOURITE

Does me saying I love your tears turns you off? Don't worry, I will never be the one that makes you cry, or at least I will try not to be one. We can cry together, you can cry in front of me. The sight of your tears will tear my heart open and let out this feeling that I myself wasn't aware of before.

I was really grateful that you chose to be open with me, telling me your pains that no one else had ever known. It's my honour. At that moment, I felt as if our hearts had been bridged, your emotions flowed into mine, I won't even know what was yours, what was mine. I will feel this rage inside, toward life, maybe? How could life give you so many pains like that. You were just yourself, yet people couldn't have the bravery to face that realness. Please don't ever dim your light for other people or for anything.

But that rage will be accompanied by desire. My desires are tied to my emotions. The more intense the emotion, the more intense my desire will be. I will feel this instinctive urge to protect you. Destruction and protection go hand in hand. I wanted to force all those painful memories out of you and burn them, to replace them with memories of me.

I felt a war inside me. I wanted to touch you softly, caressing every part of you, to tell every inch of you that it's okay, to wrap you with pleasure so much that those tears will be tears of pleasure (oh no, will that make me the one that makes you cry? I'm willing to be the offender then). But I also wanted to grab and take you into me, to push you so hard that we would become one, whatever I do, you still feel so distant to me. I got impatient.

But I won't act on that desire. I will be gentle, I will be the comfy bathtub that you drown yourself in after a long day. To be the warm water in the tub, lapping over you. Can you feel my heat? You don't need to do anything. Let me take care of you.

Note: This person will feel an intense desire to protect you and to soothe you. To them, emotions go hand in hand with sexual desire. So the moment that their emotions and yours are heightened will be the point where they feel sexual desire for you. At that time, you could be telling them about past pains of yours, likely from childhood, it related to being an individual, isolation, not fitting in, of loss. You will be crying, the tears will be the trigger.

This person has the ability to connect emotionally with other people. The connection of emotions will lead to the connection of bodies. They are gentle but have a more aggressive side to them, a little extreme. I feel like the moment they feel desire for you will lead to your first time with each other. The fantasies will stay in their head, but they won't act on them completely. It could also come as a surprise for you. You may not be fully aware of the extent that is their desire for you.

They have a liking for water and wetness, be it the water around you when you are having sex or the water coming from you. So they might like to give you oral, shower sex, licking, dripping, spilling. They will also like to talk to you to instil their own fantasies into your mind so that you will share the same fantasies for each other. They want to achieve oneness.

CARNELIAN

I suppose that I wasn't being honest with you. Hiding all my problems and weakness, my insecurities were many, you know, they weighted heavily on my mind. Every night, they would come in, haunting my sleep. Life is heavy to me, I'm a fearful person. I've never felt safe in this world. My foundation is lacking. It felt like I was living in a castle made from cardboard, ready to collapse at any moment. And how can I welcome another human being into this shabby castle of mine? That was how I thought about our relationship. I wasn't courageous enough, I let my demons whisper in my ears while you were there, caring, with the gentlest love that I've got.

It was until we had our first serious argument with the possibility of you leaving that I was awakened. It felt like hearing something exploded. I was disoriented, the first thought that sprang to my mind was to hold you, firmly, to drag you into my cardboard castle, to let you see it all, without care how it could collapse with both of us inside.

I thought that if I prepared enough, I would be confident, I would be able to show you our bright future together. But when will be enough? I'm ashamed that it had to take an argument for me to realise it, that my desire for you would be ignited in such a negative situation, human sure are weird creatures, don't you think?

No, I didn't act out that first thought, I just grabbed your hand and apologised, like a good and polite human. My heart was awakened, but that doesn't mean my mind would just quietly follow suit.

After that incident, I found myself thinking about it again and again. I would relive the argument but put an erotic twist to it. (TW: dubious consent) I imagine me being rough and acting all assertive. Without a second word, I would pull your turning back close to me and kiss your neck and shoulder from behind, arms caging you so tight, you would feel a little suffocated. Then, as I feel you getting softer, I would let my hands trace every inch of your body, with you still a little miffed but can't resist my touch. I imagined you being pleasured until you let out a soft moan, shaking in my arms.

Then I would turn your head around to face me and kiss you with my all, without being afraid that you would find out all my insecurities and all that unsightly parts of me.

Note: This person could be quite emotionally distant, afraid to commit because of their insecurities. They are restrained and tend to overthink everything, to the extent of being paranoid. They are in their head more than their heart, their heart is a dangerous place for them.

There will be a point where you are tired of the uncertainty and distance in this relationship. The situation would be when you go on a date with them, something not quiet right will happen, something small, but you will argue and the argument leads to a bigger issue. You will want to walk away. This is when they realise the possibility of losing you, like a Tower moment. They don't want that to happen, so they will grab your hand and apologise, explaining their problems. Some kind of commitments will be formed. And also the desire for you.

They have a more aggressive and earthy side to them that is hidden and only comes out in their fantasies. They would want to pleasure you from behind, making you feel their feelings for you through physical touch. The focus is on you. They imagine themselves to be more brave, to open their heart for you to see without a care in the world.

AMETHYST

Ah, our first kiss, our sweet, sweet, first kiss. I can still recall the taste of you exactly, just like being on that day again.

Do you remember it too? We even took a picture of us kissing, to solidify our memory together, a celebration for our love. I felt so warm, like a sun has found refugee inside me. The kiss transported me into a magical land, into our future together, our journey has started.

I will be thinking way far ahead, about how our wedding will be, where will our honeymoon be spent, how our first night as a married couple will be, how our kids would look like, how we would be worried about their future and finally have some rest together in the old age. I didn't know that I was such a planner, or was I a dreamer? No, I'm a magician, I will make our dreams come true. Yes, brace yourself and start looking forward to it.

I have a commitment kink. There, I've said it, loud and clear. The moment we solidify our commitment to each other (I like the word 'solidify', like heavy concrete that we could sit on) will be the moment all my passion broke free and come running to you.

Do you think our lifetime plan in my head is just some innocent planning? No, I'm a sucker for details. No detail of our life will escape my mind. Including our sex life. What kind of domestic life could be without the pleasure.

Just like when we were dating, we will continue on being smitten with each other well into our trembling-hands-and-hair-whitening era. You and I will make sure that passion is never lacking in our relationship.

We will talk about it a lot, seriously and flirtatiously, teasing each other, then sit down and discuss it, like a research project. We will try many different things, getting feedback from each other, then calibrating the system until it reaches perfection. We will also tell each other about our deepest fears and painful memories, then we will kiss each other better every time.

Let's grow together. Let's run our naked bodies along the seashore like little kids, collecting seashells, giggling then colliding into each other.

Let's have our late night debate about the metaphysical then tearing out clothes in the process.

Let's grow trees together in our garden, let's get dirty (literally) as we embrace each other (I can't help using 'each other', I also like this word) on the soft, damp earth. Then, many years later, we will embrace each other under the shade of our grown-up trees.

Note: There's this warm and bubbly, exited energy to this person. The moment you first kissed will be when they start imagining your life together. They get turned on by commitment and the future prospects of your relationship. When they're dating, they definitely have long-term commitment and marriage in mind.

They are quite cerebral, love to think, and plan ahead. But those thoughts don't just stay in their head. They got put into reality. They like to think about the relationship as a project to build and to perfect with their partner. But they are not rigid. They like spontaneity. They want to feel the pleasurable aspect of the relationship with their partner everywhere, to make memories, to celebrate the love. Everything can lead to sex. They seem to have a preference for the outdoor and nature.

ROSE QUARTZ

Hmm, do you have some kind of superpower? The kind that can lower other people's intelligence? I felt like a toddler learning to speak for the first time when I'm around you. And this mind of mine did not feel too well about that. I'm usually the one that people look up to. I can say with some confidence that I'm an intelligent person, but being in front of you? My intelligence seemed to take a strike and went for an infinite vacation. I don't think you've noticed this dilemma in me. Thanks goodness, at least I could still appear as a good enough debate opponent for you. What's with all this talk about intelligence anyway? Because I want to know the cause and effect of things. I want to know the cause of my desire for you and the effect of it.

To put it plain and simple, you challenged me mentally. Who would have thought that I could get turned on by debating about the present school system with you? Talking about vehicles turned me on, talking about religious matters turned me on (wait, that doesn't sound right). I know you didn't do it to rile me up. You simply share your view and ideas with me, innocently. But I also know, our debates turn you on too, you can't hide that twinkle in your eyes whenever I say something controversial or go against you view. We flirt by words, our words, they clash then kiss each other. Is 'arguing' in public considered a type of PDA?

I thought I was the absolute ruler of my own mind, sitting smugly on the pile of gold, getting praised by commoners, confident that no one can match me (I'm a vain and arrogant human being okay). Then the gate was blasted open. There stood you, alone, with that bazooka for a mouth and an equally smug face. I thought that you came to steal my gold, no, that wasn't the true horror, you came to tell me that my gold was fake. Ah, how I slipped and fell, face kissing the ground. How dare you? I had to bravely stand up and charge at you, to kiss you? (Eh, I didn't expect that twist. Is this some kind of cheesy romance web novel?). Don't take it the wrong way, it's not like I'm worshiping you or anything, I just want to get close to you to study you, to pull out all of your secrets, and then? To sit at your feet and admire them, maybe? While we are in the mood, may as well dress the parts. Let's turn ourselves into characters of our own novel. Let me regain some of my dignity in my fantasies. Let me be the teacher, and you be the student, nodding admiringly at my every word. Then, while I'm drunk in your adoration, you would turn all bratty and tease me, strip me of my dignity again.

Note: I don't have much to say about this person other than you may want to save up to buy lots of costumes later on.

This person is quite arrogant and used to being admired and put on pedestal by other people. But you won't be like that to them. You challenge their world view, kick them down the pedestal, and they like that. There could be a masochistic streak in them. Wanting to be put down, to be humbled. They will want to be lured into a trap by their partner and be tricked into submission (willingly, with consent, of course). They like you to act bratty while they pretend to be frustrated and have to give in to you.

They have fantasies about role-playing, could be related to medieval themes. I don't see any particular actions, just them liking the mental stimulation and talking back and forth. To them, pleasure comes from the mind.

OBSIDIAN

Do you know about the ducklings imprinting? About how in the early period of a duckling, they capture the image and sound of a moving being into their mind, permanently solidifying this being as the object for the duckling to follow? I was like that with you.

You came into my life during my most transforming period. I felt like I was born again, leaving behind all the bad memories and disappointments. I felt weak and lonely, lost in this new world, literally, I had to move to a new place, getting used to the new environment from the start. And you were there, gently walking side by side with me. It's bittersweet how I had to go through the darkest moment in my life to meet you, but it's all worth it. You made the pains feel like distant memories.

I still remember that moment perfectly. You came to me, asking if I had eaten. I said no, and you proceeded to cook a speedy warm meal for me. I wanted to cry, honestly. Never in my life had I ever thought that food could be such a multipurpose thing, a miraculous balm, a pouring melody, a comfy blanket, a word of love. I felt full and nourished, by you.

Let me put you on the pedestal a bit, let me see you through a rose coloured glasses, let me dream about you every time sleep comes to me, temporarily or eternally. Let me return the love equal to that you've given me, or even more than that. I want to give you my all, at the same time, I want to be all that you have, as you are mine.

Sometimes, I wished that there's only the two of us in this world. How I wanted to muffle all other noises, smear all other colours, air out all the scents so that the only remaining things are your voice, your colours, and your scent. Let me paint you. Though I can't be confident that there exists a kind of paint that can convey the brilliant of your skin, your eyes, your hair. It's frustrating how I can see you crystal clear in my mind yet unable to translate the image into the canvas. In this case, could you be my canvas and let me paint myself onto you?

Note: This person has a sensitive and artistic soul. They will meet you when they've just come out of a dark tunnel, starting a new life, moved to a new place. They will get attached to your kindness and warmth. I feel like the situation when they develop desire for you for the first time will be when you are comfortable with each other already. You could come to their place, cooked for them. They could see your care, which will trigger their emotional desire for you. Their physical desire is tied to their emotional desire.

They will want to serve you, to put you on pedestal and cater to your every desire. They could be a little possessive, wanting you for themselves. They want to have sex in somewhere secluded, private and quiet, with a sparse surrounding or even empty. All of their focus will be on you. They will want to stay silent to hear your moans, eyes fixing on you all the time, and breathing in your scents everywhere. Then after the sex, they want to paint you, on canvas, you could be their muse, or paint on you with their marks. It's like your existence in their mind and in front of their eyes are still not enough.

[14dayswithyou]

As a humble admirer of Everything Yandere and of the inner workings of the sick and twisted minds of loving, lovesick maniacs and of their warped and muddled perceptions of love and intimacy, I pose you the question: What type, kind, flavor, species of Yandere is Ren/Redacted? I've gone through the asks on the blog answering what lovesick and yearning behaviors he goes through, why he does them, what they mean to him — but can we go deeper? What disturbing things does Ren do, be it for his own twisted satisfaction and perception of "love", be it to those he sees as threats to his Angel? What are his limits, where does he draw the line, how far is he willing to go to get what he wants, and who is he willing to hurt and how? Where does he draw the line when it comes to Angel? I know he would never physically hurt them, but what kind of mental warfare would he inflict on them to get them where he wants? Are we talking isolation, manipulation, gaslighting, brainwashing? And if so, how does that happen?

I'd be very very happy if you'd be okay with going into this analysis — and would it be possible to answer the Yandere Alphabet for Ren? Thank you for blessing me with this mess of a boy and sowwy for the ramble ♡ ♡ Tell Ren to clean up the bloodstains he left earlier ♡

⌞♥⌝ Because I get this question a lot, I personally feel like I've answered it to the fullest possible extent that I can gdkfgjdj ^^; So if you haven't already seen them, I reccomend going through these asks: one, two, three, four, and five!

As for your other questions:

I've highlighted them in pink to make it easier to reference/link it back to the questions above

The "disturbing" things Ren would do to his victims have been answered more or less in a few of the asks mentioned above.

Ren honestly doesn't have any major limits aside from physically harming or forcing himself onto Angel in any way. He doesn't find any pleasure in doing so, nor would he ever want to turn out like his father — much less subject the only person he genuinely cares about to the same things he had to endure as a child.

Ren also doesn't really draw the line anywhere — again, aside from upsetting Angel in any way — so anything is fair game when it comes to everyone else. But speaking as his creator for a moment, I will say that Ren is not the type to harm babies, animals, abandon his own/Angel's children, force himself onto anyone, or coerce anyone into sexual activities in order to get what he wants. That's icky af and I'm not rocking with it /gen /lh

On a slightly lighter topic, Ren is willing to go as far as necessary if it means having Angel rely on him and him only... So long as it keeps them happy at the same time. As much as he'd love to "remove" Angel's friends and family permanently, he won't entertain that thought if it'll make them upset. At most, he'd likely try non-lethal ways to get rid of them in hopes of keeping Angel happy (and oblivious).

One of Ren's major characteristics is that he's willing to change himself to suit Angel's needs, no matter how drastic it may be. If they find any sort of reliability or comfort in him by doing so, then he'll latch onto that notion and feed into it. By becoming someone Angel can trust and confide in, Ren would (potentially) be able to manipulate them and sway their thoughts... Almost like a metaphorical devil on their shoulder, in a sense lmao

I've said this a few times on this blog before, but Ren is the CEO of gaslighting and manipulation. He's down to try a bit of isolation if it's somehow possible to keep Angel happy while doing so, though I don't think Ren would be into mindwashing since he idolises, honours, and blindly trusts Angel's original thoughts more than his own. He wants them to genuinely develop feelings for him, not because he forced them to.

I've actually been asked to do the Yandere Alphabet by a few other people recently, so I'll get around to doing it sometime!! ^^

[monstertreden]

◡̈⋆🅷🅸(●’◡’●)ﾉ!! saw that requests for writing is open, so I would like to politely and gladly request this 🤍

mutual pining with optimus prime and human fem reader!! and if possible, the timeline in the bumblebee film (2018) please. optimus is confused about the blossoming feelings he has for reader and seeks help from bumblebee since he has been on earth longer and assumes he knows better haha!! bumblebee is like his wingman :3c

sorry for yapping, but this is my request please and thank you 🥹🫶🏻 have a good one!!! <33

☁︎ RAINY DAYS ☁︎

-Reader: FEM reader  -TW: none -Character: Optimus Prime (Transformers 2018 movie) -Summary: Optimus develops a quiet, protective affection for a human companion, treasuring their moments together. -Word count : 1453 -A/N: Ahhh this was so cutee!! I've tried my best, anon! :) It took me a bit to polish this one just trying to catch Optimus character better :3, hope you like it! . . . I love big robots.

The Prime stood in quiet contemplation, his optics flickering with the weight of his thoughts. Today the "Autobots base" was noiseless, except for the only sound in the room that came from a small TV. Its screen casted a faint glow, as his loyal companion, Bumblebee, zapped through various channels, each displaying what he presumed was human entertainment. The great leader of the Autobots had faced countless battles and made decisions that shaped the fate of Earth itself. Yet, now, he was confronted with a challenge that left him uncertain… his growing affection for a human.

He turned his helm towards Bumblebee, who was still tinkering with a small rectangular device, undoubtedly another human invention. The scout's dexterous servos moved with precision, his curiosity for human culture evident in every motion. That curiosity he had for humans was something else, Bumblebee had always been adept at understanding humans, particularly one individual who had become dear to the scout’s spark, a connection Optimus couldn’t quite wrap his helm around.

"Bumblebee, my dear friend." Optimus's voice rumbled inside the shed, to which the scout beeped in acknowledgement, blue optics lifting from the small device he held. For all his wisdom and experience, Optimus found the nuances of such personal connections… elusive, particularly when it came to matters involving a certain earth native. "I find myself in need of your counsel…” his voice steady but laced with an uncharacteristic hesitance. “…might I ask, how does one get acquainted with an earthling?”

Bumblebee's optics brightened with amusement. Lately, he had seen the Prime’s subtle shifts once he got closer to their human friend. To see the unshakeable pillar of their team, a leader who rarely wavered, seeking guidance on something as deeply personal as affection, from him! Knowing full well that too much teasing could get him grounded, once again, by the big boss, he suppressed a teasing comment.  

Shifting between radio stations, Bumblebee spoke "—that’s it!—might as well spend quality time with her—boss!”

The idea of approaching a human affectionately weighed heavily on Optimus. Deep down he was lost in thought, the alliance between humans and Autobots came first. However, this particular human had earned his respect, and gradually, he found himself warming up to her presence.

It was unexpected…

Ever attuned to his leader's demeanour nuances, Bumblebee softened his  veiled teasing, followed by his next suggestion “---You all go for--- a Joy Ride!---”

Racing with a pick-up truck? That would be too risky, perhaps even impractical. His alt mode was functional, built for resilience and reliability, not for speed or flashiness, neither a sports car nor a sleek vehicle.  It was a step he could take, though at his own pace.

"I thank you, dear friend" Optimus said, a note of gratitude in his voice. "Your insight is... most valuable."

.ᐟ.ᐟ

The sky had darkened, thick clouds gathering as a gentle rain began to fall. Subsequentially, the steady rhythm of the droplets intensified, each drop falling heavier than before. Amid the relentless rain, another sound broke through the downpour. It was the distinctive hum of an engine, accompanied by the sharp, glowing brilliance of the four headlights piercing through the rain. The pickup truck stood resolutely by the side of the road, its metallic frame shimmering as droplets clung to its surface.

The truck had been waiting patiently for an indeterminate time as then, through the haze of rain she appeared, huddled under a small red umbrella. Illuminated by the soft glow of a streetlamp, Optimus watched as she approached, her steps careful on the slick pavement. Once she reached his side, the door unlocked with a quiet click, inviting her inside. “Finally—” trembling, she climbed into the passenger seat, the door closing firmly behind her.

Inside, she was enveloped by the warmth of the front seats, a stark contrast to the cool rain outside. She set her umbrella aside and leaned back in the seat, with a contented sigh. "Thanks a lot for picking me up, Optimus" her voice resonated in his spark “I’m terribly sorry, I hope I didn’t make you wait too long under this damn rain! I swear, my weather said it was going to be cloudy...totally not this??”

"It is no trouble," Optimus replied, his voice a gentle rumble through the speakers. “I wouldn't want you walking in this kind of weather, you might get hurt. Never hesitate to give me a call, little one.”

Soon enough the engine started, and they drove in comfortable silence, the rain creating a soothing backdrop. Optimus found solace in these quiet moments, the presence of his human companion filling the space with an unspoken connection. He relished the opportunity to simply be near her, to share in the simplicity of the moment. This was his kind of “Joy ride”, a serene, intimate experience far removed from the high-energy adventures Bumblebee often took part in.

As they neared her home, the glow of streetlights casting soft halos on the rain-slicked road, she turned slightly, her gaze thoughtful. "You know," she began "I’ve always appreciated how you make time for me. It means a lot."

Optimus's spark swelled with an emotion that, despite his longevity and vast experience since he first came online, he was still learning to fully understand. "Your companionship brings me a sense of peace," he admitted, the sincerity in his tone unmistakable. "It is a privilege to be a part of your world."

Her hand reached out, soft fingers brushing against the dashboard in a gesture of affection. “And it's a privilege to have you in mine, truly"  she whispered, her voice barely audible over the hum of the engine. She knew he could hear her, loud and clear, even if he didn’t respond immediately. There was a quiet understanding between them, one that was broken by his warm voice, drawing her attention.

“Would you like to hear some stories, my little friend?”

.ᐟ.ᐟ

An hour had passed, her eyelids grew heavy and she found herself lulled by the light sway of the truck. It was a rare moment of peace in a world often filled with chaos. Here, cradled in the safety of Optimus Prime, she allowed herself to drift into a peaceful slumber, trusting completely in the steadfast guardian who was carrying her home.

“---This brings many memories in my circuit” Optimus mused softly “The first steps we Autobots took on your lively, vibrant planet. It’s a bittersweet feeling, filled with nostalgia…” His words trailed off as he realized she had succumbed to sleep, her form gently resting against the cushion seat. “oh…” His words had continued longer than he intended. She had fallen asleep, her head resting against the cushioned seat.

His engine hummed quietly as he turned the corner by her house. With a slow, deliberate movement, the Prime transformed. His massive frame shifted awkwardly, yet he was careful enough to avoid any disruption.

With utmost care, his servos extended towards her,  cradling her sleeping form. She stirred slightly but did not wake, her trust in him evident in her relaxed posture. As if in the hands of someone who would never harm her.

Attentive optics caught sight of the slightly open window. Soon, Optimus approached it, parting it with a click, careful not to make a sound. The rain had all but ceased, leaving the night air cool and fresh. With ultimate precision, he laid her down on her bed, tucking the blanket around her in a gesture that felt almost human. He lingered for a moment, his optics soft, his gaze filled with a tenderness that reflected his deep sense of protectiveness. She was safe here, in the comfort of her own room, sheltered from the outside world.

He stood there for a moment, his optics soft as he gazed at her peaceful expression. "Goodnight," he whispered, his voice a deep murmur. "May the stars always guide you."

.ᐟ.ᐟ

As he quietly stepped back from the window, miraculously avoiding breaking the glass, the Prime remained near her backyard, his massive form casting a shadow over the wall of her house. The soft hum of his systems settled into a quiet vigil, ensuring her safety throughout the night. There Optimus found solace in the knowledge that, for now, as long as he was with her, she would be safe and sound. With the Autobots' base under control, he decided to linger near her home, keeping a watchful optic on her,  a silent but devoted promise of protection and care.

The faint light of the stars reflected in his optics as the night enveloped him while he transformed back into his vehicle mode.

Tomorrow would be another day.

[nowoyas]

Trying to make sense of the Nanowrimo statement to the best of my abilities and fuck, man. It's hard.

It's hard because it seems to me that, first and foremost, the organization itself has forgotten the fucking point.

Nanowrimo was never about the words themselves. It was never about having fifty thousand marketable words to sell to publishing companies and then to the masses. It was a challenge, and it was hard, and it is hard, and it's supposed to be. The point is that it's hard. It's hard to sit down and carve out time and create a world and create characters and turn these things into a coherent plot with themes and emotional impact and an ending that's satisfying. It's hard to go back and make changes and edit those into something likable, something that feels worth reading. It's hard to find a beautifully-written scene in your document and have to make the decision that it's beautiful but it doesn't work in the broader context. It's fucking hard.

Writing and editing are skills. You build them and you hone them. Writing the way the challenge initially encouraged--don't listen to that voice in your head that's nitpicking every word on the page, put off the criticism for a later date, for now just let go and get your thoughts out--is even a different skill from writing in general. Some people don't particularly care about refining that skill to some end goal or another, and simply want to play. Some people sit down and try to improve and improve and improve because that is meaningful to them. Some are in a weird in-between where they don't really know what they want, and some have always liked the idea of writing and wanted a place to start. The challenge was a good place for this--sit down, put your butt in a chair, open a blank document, and by the end of the month, try to put fifty thousand words in that document.

How does it make you feel to try? Your wrists ache and you don't feel like any of the words were any good, but didn't you learn something about the process? Re-reading it, don't you think it sounds better if you swap these two sentences, if you replace this word, if you take out this comma? Maybe you didn't hit 50k words. Maybe you only wrote 10k. But isn't it cool, that you wrote ten thousand words? Doesn't it feel nice that you did something? We can try again. We can keep getting better, or just throwing ourselves into it for fun or whatever, and we can do it again and again.

I guess I don't completely know where I'm going with this post. If you've followed me or many tumblr users for any amount of time, you've probably already heard a thousand times about how generative AI hurts the environment so many of us have been so desperately trying to save, about how generative AI is again and again used to exploit big authors, little authors, up-and-coming authors, first time authors, people posting on Ao3 as a hobby, people self-publishing e-books on Amazon, traditionally published authors, and everyone in between. You've probably seen the statements from developers of these "tools", things like how being required to obtain permission for everything in the database used to train the language model would destroy the tool entirely. You've seen posts about new AI tools scraping Ao3 so they can make money off someone else's hobby and putting the legality of the site itself at risk. For an organization that used to dedicate itself to making writing more accessible for people and for creating a community of writers, Nanowrimo has spent the past several years systematically cracking that community to bits, and now, it's made an official statement claiming that the exploitation of writers in its community is okay, because otherwise, someone might find it too hard to complete a challenge that's meant to be hard to begin with.

I couldn't thank Nanowrimo enough for what it did for me when I started out. I don't know how to find community in the same way. But you can bet that I've deleted my account, and I'll be finding my own path forward without it. Thanks for the fucking memories, I guess.

[maelancoli]

Writing Explicit Intimacy More Deeply

okay after the kissing post i've wanted to try to write something about actual sexual scenes. it's taken me a while to figure out what approach to take for such a broad subject because this is such a subjective form of writing and everyone has very strong opinions and varying proclivities. the truth is you are not going to please everyone and there will be a chunk of people who will always dislike your choice of words. and so even in writing a post to help others, there's going to be people who strongly disagree or find what i prefer to be cringe or unerotic.

the portrayal of sexual intimacy and the approaches taken are as varied as the sexual preferences, appetites, turn ons and turn offs of every day real people. this can either make you freeze up when writing, or free you to realize there is no 100% right way to approach erotic art and anyone who tells you otherwise is a smartass or trying to sell you something. so with no further ado, this post will be exactly what it sounds like so proceed at your own risk.

i'm going to focus less on style itself and more on approach. the first thing is that you don't need to divorce 'fluffy' non explicit intimacy from sexual writing. the exact same style and techniques you use for non sexual intimacy can often be applied to the sexual scenes too. kissing scenes, the chaste restrained touches filled with deeper desire, the linger looks from across the room, the build up to the first moments of vulnerability, the first few kisses, the first 'almosts' are connected to the sexual scenes themselves. it is all the same emotions and tensions. they're only heightened. and for sex scenes that are produced from these build ups are a simple escalation. you only need to expound upon what you've already built. don't view it as starting new and having to figure out how to write a different topic/moment. it's a continuation and all you need to do is use the tools you've already given yourself.

my second tip is to spend time shaping your character's tastes, kinks, turn ons and icks, their secret fantasies, their red lines they won't cross, their pleasure zones, the places they find attractive on others that they like to focus on and stimulate. if you want your sex scenes to feel real and not like it's just a emulation of generic smut or porn, you have to do what you do for literally anything else to make it not feel bland or contrived: character development.

where does your muse like to be kissed? what parts of their body make them feel stimulated, what parts are the most sensitive? not everything is about genitals. a lot of people like their foreplay to start with groping in varying erogenous zones. some are unconventional, some like their ears licked, they want their wrists kissed and sucked, they just want their partner to hold them close etc. the more you practice and explore what feels right for your character, the easier building on that foundation of tension will become.

if you feel awkward you can write the characters feeling awkward too because it often is. sex isn't always erotic or super steamy. it can be funny and awkward or just a natural physical thing happening between two people. focus less on if it sounds good in the first draft and focus more on if it makes sense for the characters, focus on how this moment makes them feel, where they feel their arousal and excitement in their body, how they respond to each other, what this means to them or what it doesn't mean etc. after you have gotten that down, then you edit it. add the prose, use the language that either make sit feel less crude to you or more erotic or more poetic etc.

lets take eliza and grabriella from last time so we can expound upon their previous interaction

it wasn't like she had never seen gabriella before. the first time they had seen each other outside of a dorm room or stuffy lecture hall was at dance club which was too crowded and too loud and was less 'dance' and more 'stand around and bob heads and take up too much space on the dance floor.' but she did remember what gabriella wore. she remembered her cropped blouse with ruffled sleeves and how she hadn't worn a bra beneath it. she remembered that she did dance. she remembered how effortless it looked. and the shorts which hugged her thighs and formed that little indentation that first made her wish she could tuck her fingers beneath the hemline and tug her close. she had denied those instincts then, those unrealized desires. but she wasn't denying it now. because now gabriella was on her mattress, sitting on her knees in only her bra and lacy underwear which evoked that same feeling. eliza imagined hooking a finger just at the waistline and tugging. butterflies swirled in her stomach and static radiated through her at the mere thought because this time she could do it. "you okay?" gabriella murmured. she was smiling. that smile made her feel all the warmth of the brightest stars which whispered she was meant to be here, with her. "yeah," eliza breathed out. she leaned closer and feathered her lips along the other woman's. even with a trembling hand she reached forth and brushed her fingertips at the edges of gabriella's panties. "i'm okay," she promised. she allowed herself to smile and in doing so realized she was already grinning. "more than okay." "good," gabriella kissed her back, one of her hands sliding into eliza's hair as the other tenderly began to caress her bare thigh. "have you ever...?"

"no," she admitted. heat gathered in her cheeks which were turning pinker by the second. her ears must have looked sunburnt and she had to resist the urge to cover her face. "not really...not like this." a pause. she bit at the inside of her lower lip and glanced up at gabriella's soft features. when their eyes met, she simultaneously felt all her muscles relax again. but those damn butterflies kept fluttering within her. "have you?" "once," gabriella nodded. then she smiled, a shyness in her expression which only made her features glow all the more. she reached down and gently grasped eliza's hand. she rubbed her thumb over her knuckles. "just follow my lead," she murmured. "we'll make up our own steps." she slowly guided eliza's fingers beneath the lacy waistband. and then further. until she felt the damp warmth between her thighs. eliza's breath hitched and she almost forgot how to control her lungs. "i think i can figure it out," she replied with a small smirk before she tenderly rubbed the pad of her thumb against gabriella's mound. when the other woman breathed in deep, almost moaning, she knew this was a dance she would happily memorize.

i put the rest below the cut to help the post from being too lengthy. but essentially here we see a continuation of eliza feeling uncertain in new territory but finding comfort and reassurance in gabriella. she might be nervous, but she has no doubts about this woman she's attracted to. rather than just describing one action after the other or focusing only on the biological responses happening, we're delving into the continuation of anticipation, we're showing the gentle push and pull between them. eliza has the desire to take control and give pleasure to gabriella. but she finds herself needing gabriella's guidance and that's okay.

because they met dancing, we can use dancing symbolism. deciding the contrasting language and euphemisms you want to use for your ship will help you broaden how you write the intimacy beyond the physical.

eliza wants to be more dominant we see hints of it here, but realistically someone who is new to a situation will not be able to go straight into that. but, say that there is continued scenes of intimacy between them, after the first time, we would start to let her slowly explore that. perhaps gabriella would coax it out of her, maybe eliza will surprise her. she'll tug her close by her belt loops, she let herself bite at her rather than just gentle kisses. it will happen slowly and surely. and that is typically also good advice for if you want to include more kinky content. the first time people have sex they're not gonna jump straight into that. even if they're experienced in kink they still have to get to know one another and get a feel for each other's bodies, what they do and don't like, etc.

there's further tension to explore if you utilize those intimate scenes correctly, continuing to build and escalate each time upon the previous moments. don't just jump straight to crazy sex. build up to it. let them explore each other and their sexuality together. that is where the steam comes from, the continuation of tension, the excitement of getting to know one another. don't just steamroll right over opportunities for development and sensuality.

anyway that's it folks bc this post is long af. have fun, write freaky shit, write cute shit, write what makes u happy and horny.

[genericpuff]

Lore Olympus just pulled off the biggest whiff in webtoon history.

I promised I would choose one of two headlines and of course, this is the one we wound up with. But should we really be surprised? Rachel herself seemed to be telling on herself down to the minutes leading up to the finale, fully confirming to us that yes, she's been writing this comic at the last minute, by the seat of her pants, for ages now.

(that second one was literally posted TWENTY FUCKING MINUTES BEFORE THE COMIC UPDATED.)

Welp, let's get into it. Possibly the last essay I'll ever write about this dumpster fire of a comic (but probably not, let's be real LOL)

CONTENT WARNING: DISCUSSION OF SEXUAL ASSAULT AND FASTPASS SPOILERS FOR THE SERIES FINALE AHEAD!

Holy crap, where to even start with this. I knew it was going to be bad. I knew it was going to be rushed. I knew it wasn't ever going to live up to what I had hoped it would be years ago when I was still a diehard fan.

But I didn't think it was going to fall quite this hard. Despite bracing myself for the worst, Rachel has once again let my expectations down through a final display of explosive mediocrity and disappointment.

Yes, the episode is called "You're Welcome", and yes, that instant "ick" you're feeling is the exact same as what we're all feeling. This title plays into the dialogue later, but what a shitty, lowkey mean-spirited title for the series finale.

Now, before we get into the actual episode, the WT ads for this are just... so desperate and misleading.

They are trying SO HARD to hype up something that isn't there, and at the last minute to boot, because Rachel definitely hadn't written any of this ahead of time.

First off, the bit about the gods being in "eternal chaos" of course isn't a stake worth worrying over because Gaia literally does away with Ouranos in the first 5 panels.

Did you really think I was joking about that 5 panels thing?

That's it. That's the death of Ouranos. As mysteriously and quickly as he arrived, he was gone, after Gaia ripped out of him what appeared to be some purple sunny side up - but it's actually, in fact, Apollo.

And that's when we start to get some of the worst dialogue I've ever seen throughout LO. Remember when I said LO's dialogue was like Shenmue 3? Welp, the finale decided to continue that tradition and further fuel the suspicion that this entire thing was written by ChatGPT.

Oh, by the way, that "thank you, ma'am" was Artemis' first and last line of the episode. So once again, just like in Episode 248, we're completely robbed of her reaction to Apollo being a rapist piece of shit and the character development she could have had as a supporting character. The women in this "feminist retelling" really couldn't be more half-baked.

Gaia stumbles upon Persephone, and I'm not even gonna fucking bother showing the panels where Gaia says it's time to "make things right" because they literally don't matter. Why don't they matter? Because Rachel just had to get in one more pointless time skip.

We're shown a sequence of pointless images that I'm not gonna show as I don't want to waste my image limit on them, depicting Hades having a sad day because his small wife isn't with him and oh nooo what could have happened?? Did Persephone finally divorce him ??

Nah, we couldn't possibly have an actually happy ending in this comic. Instead we get a completely pointless phone conversation between Hades and Hecate-

Not only is the grammar particularly bad in this episode, but the actual script-writing is atrocious. We literally did not need this phone conversation to happen because-

-we're cutting BACK TO THE PRESENT THAT WE JUST CUT AWAY FROM FOR A 3 MONTH TIME SKIP. FOR NO REASON BESIDES SHOWING HADES BE SAD OVER SOMETHING THAT ACTUALLY ISN'T THAT BIG A DEAL, AS YOU'RE ABOUT TO SEE.

I- I LITERALLY HAVE NO WORDS. I HAVE NO WORDS TO DESCRIBE WHAT THE FUCK THIS IS. ALL I CAN HEAR IN MY BRAIN IS THE LEGEND OF ZELDA ITEM GET MUSIC-

-BECAUSE THIS WHOLE THING SUDDENLY SOUNDS LIKE SOME CONTRIVED FETCH QUEST. WHAT DO YOU MEAN HADES AND PERSEPHONE HAVE PROVEN 'TRUE LOVE' IS REAL? WHAT DO YOU MEAN THEY HAVEN'T USED 'LOVE' AS A FORCE FOR DESTRUCTION?? ARE WE FORGETTING THAT HADES MUTILATED A GUY IN THE NAME OF 'LOVE'? THAT PERSEPHONE LITERALLY INVADED THE HOME OF HADES' CANONICAL FIRST WIFE BECAUSE SHE FELT MILDLY THREATENED BY HER?

This whole concept of "true love" that Rachel is trying to convey feels so juvenile especially for a series that has sold itself as being mature and thought-provoking and progressive.

HAHAHA SO FUNNYYYYYYY why does Rachel write like this. this is, at best, the writing of a 13 year old on fanfiction.net, which I SHOULD KNOW, because I WAS ONE OF THEM. BUT I'M 28 NOW AND RACHEL HAS ANOTHER 10 YEARS ON ME.

Okay, this is the part where I'm CONVINCED Rachel either just mashed this into the episode in the MINUTES leading up to its release, or she used ChatGPT or something. Because NONE of this dialogue makes any sense. Beyond how stilted and lifeless it is (seriously, this dialogue reads like something from Empress Theresa) Gaia is clearly meant to 'replace' Erebus here which I SHOULDN'T HAVE TO EVEN EXPLAIN IS SO FUCKING DUMB, but ALSO what is even Persephone trying to communicate here? "That is true, but it was a deal I was willing to make and ties me to the Underworld. Please don't change me." What? Gaia hasn't even insinuated that she's going to do anything to Persephone, why is Persephone immediately jumping to this conclusion? What does 'changing' her mean? Is she asking Gaia not to force her to sacrifice something (which she never did)? Or is she asking Gaia not to strip her of her Underworld status? Because again, why is that even something Gaia would do?

Maybe this is harsh but I'm pretty sure even Empress Theresa is more coherent than this, what in the flying fuck is Gaia talking about?

"I can just see the potential for conflict! To relieve you from the burden of the whats, the hows, and wheres." Like... okay, first of all, that second sentence isn't even a complete sentence, it's a dependent clause left hanging, but also what the fuck does this MEAN. Is she EXCITED for the conflict but then contradicting herself by saying she wants to relieve Persephone of that conflict? Or is she saying she can see the conflict it would cause for Persephone to have to perform duties in both realms and trying to insinuate that she's going to relieve her of those complications?

Here's what I think happened - I think that second 'sentence' wasn't supposed to be a sentence, but the start of the sentence to the next panel-

So with that theory in mind, the sentence becomes, "To relieve you from the burden of the whats, the hows, and wheres, you are to spend three months in the Mortal Realm to do spring and the rest of the year in the Underworld. That seems fair to me."

It's still a very poorly written line of dialogue, but at least with that fix in mind it makes sense. But man, you can really fucking tell this episode was submitted at the last minute because that's a serious syntax error that should NOT have happened in this two-time-Eisner-winning comic.

Errors aside, it's clear that Rachel is following through on having Persephone spend only three months in the Mortal Realm, rather than the traditional six. There ARE other translations that have that number closer to four, but those four are the time she spends in the UNDERWORLD, meaning she's always spending either equal or MORE time in the Mortal Realm. Of course, Rachel doesn't want her self-insert small wife power fantasy to actually have to be separated from Hades despite this being a retelling of The Abduction of Persephone, so instead of her spending three months in the Underworld, she's now spending them in the Mortal Realm, literally doubling the MINIMUM amount of time (four months) she was originally meant to reside in the Underworld.

But oh no, apparently those three months are STILL NOT SHORT ENOUGH FOR PERSEPHONE-

Of course, Rachel "Retcon" Smythe had to have her cake and eat it too. I always worried something like this was a possibility, but I never thought she would actually prove me right - not only is Persephone only separated from Hades for three months out of the year, but actually he can visit her any time he wants to, so really, they're not separating at all.

I think Rachel needs to look up "reunion" in the dictionary, because if you can visit each other any time, then that means the 'reunions' are no longer special occasions. This completely removes any semblance of depth or meaning from all of the storytelling leading up to this, all of it with the expectation that this was a retelling of the Abduction of Persephone, because that's what Rachel said it was going to be. At this point it's safe to say that Rachel has zero business attempting to "retell" mythological stories, because she doesn't even seem to grasp the concept of why they were written the way they were to begin with. Either that, or she really just doesn't care, and the only reason for making LO a Greek myth comic at all was to propel her career.

This also brings me back to those promotional ads, the other one that posed the question, "Will sacrifice be enough to bring these two back together?"

This is stating the obvious, but I need to make it perfectly clear - Hades and Persephone have never sacrificed a single thing. The only thing they could POSSIBLY quantify as a "sacrifice" is "not being tied at the hip for a few hours", because even Persephone going on the equivalent of a work trip next door is apparently enough to make Hades sad as we saw in the 3 month time skip panels. Why is Hades so sad and lonely if he can visit her any time? Why is he acting like he hasn't seen her in years when he's actually on his way to reunite with her? Why is Hecate calling to ask him if he's "okay" as if he JUST got separated from her, but actually he's about to literally go to the Mortal Realm to reunite with her?

Hades hasn't 'sacrificed' a damn thing, neither has Persephone. They've both always gotten exactly what they wanted, even at the cost of breaking the story's own established rules. Their 'sacrifice' is equivalent to what billionaires think are 'sacrifices' when they can't buy another yacht or go on that third overseas vacation for the month.

And even outside of this episode, when have these two ever sacrificed anything?

I've tried so hard to think of what sacrifices have been made by the characters within LO, and I genuinely can only think of one - and that was when Artemis chose to go to the Mortal Realm with Persephone instead of staying with her family in Olympus. That was a genuine, selfless sacrifice, made by a character who has been shelved in favor of focusing on the self-centered pink and blue airheads.

Being forced to be apart for a couple days to do the equivalent of a day job and whining about it the whole time is not a 'sacrifice'. Neither of these characters have ever sacrificed anything, they just feel like sacrifices because they have the integrity and empathy of soggy cardboard.

sigh Anyways, we're back in the present and Hades and Persephone immediately decide they're gonna have sex because ofc, and then we get this gem of a panel-

MMMMMM

FUNNYYYYYYYYYYYYYYYYYYYY JOKE

For some reason it's just a common thing for people to just be in Hades' home, and they can't seem to get any privacy as a result of this, but I digress. Turns out they still need to have that coronation for Persephone.

There is... so much wrong in these three panels.

First, to state the immediate issues - why the fuck are they mentioning Apollo at Persephone's coronation? Like first of all, no shit Apollo isn't gonna be there, but also, if this is supposed to be an event for and about Persephone becoming Queen of the Underworld, then why in the WORLD is Apollo even being mentioned? This is supposed to be a "feminist retelling" where the victims are empowered and heal from their trauma, but LO once again can't try to show any sort of positive growth for the victims without bringing up the assaulters and giving them screen time. It just goes to show that Rachel's idea of "healing" is purely rooted in the revenge, and not the growth. It's a very high schooler approach to this subject, hellbent on showcasing how all the meanies from the past are losers now and life just sucked for them forever, but inadvertently proving its own point that the victims haven't and can't move on because the narrative is spending so much time on caring what's going on with the abusers. It's the "I don't care! Look at how little I care! I'll prove it to you by putting in the effort of showing you how little I care!" approach, it doesn't really feel like moving on.

It's not about how Persephone and his other victims could have grown and healed, no, Rachel always needs to highlight just how much worse the bullies and haters and abusers are doing to make the victims seem like they've healed by comparison. Don't get me wrong, I can understand wanting to showcase the downfall of a character like Apollo, but this just... isn't the right context for that? Because it's once again taking attention away from the victim to focus on the abuser. It's once again spending screentime on the voices of the oppressors rather than the oppressed.

And speaking of, what the fuck is this punishment even? I knew Rachel wasn't gonna be able to resolve this plotline properly, she never had the capability to, but ... community service? Are you fucking for real? What is this even a punishment for even? Was this EXCLUSIVELY the SA, or does this ALSO include his attempts to overthrow Zeus by poisoning him, nearly killing Daphne, Eris, Eros and Psyche, trapping Eros and Psyche in an enchanted basement, and framing his father's 'death' on his half-sister? Because if so, how in the world is anyone content with community service? He hasn't even been turned into a mortal, HE'S STILL A GOD, so what's to stop him from going "WE'LL MEET AGAIN, SPIDERMAN" and trying something else? How is this a reasonable resolution in ANY context?

This is why I talked at length about what an issue it was to hide what Apollo really admitted to. Because now we really don't know what exactly he confessed to, and thus we can never really see the point of views of the victims outside of just Persephone - and we still don't even get Persephone's, because she just walks away from him and then he gets eaten by Ouranos and next we see of him is him doing community service! Once again, any emotional development that could be given to Persephone and the other victims is stripped away to make room for the point of views of the oppressive men. In this, the two-time-Eisner-winning "feminist comic" that is LO.

And that brings us to the "where are they now" segment. Yes, as we all feared, there's a "where are they now" segment, and it's as rushed and underwhelming as we ought to have expected it to be.

There is just... so much to unpack here, and yes, all of it is delivered in the dumbest way possible that only raises more questions than answers.

So Rhea and Metis are just back and we're not gonna talk about the implications of them being alive again?

Dionysus is a 3 month year old in the body of a teenager / young adult, and his mom is just alive now because Hades conveniently got his hands on more ambrosia and brought her back to life offscreen? But somehow Triptomelus and Hedone are still child-sized relative to their ages?

How did they 'heal Zeus'? And why is he so content with losing his power as King and Apollo being sentenced to community service after making an attempt on his life? How does he feel about the letter that Hera gave him? Did he even read it?

Where the fuck is Hebe in all of this? Is she okay? Do people still think it was her who put Zeus in a coma? Or did Apollo confess to that, too?

You're telling me Hera and Echo are just in a relationship now despite the fact that Hera is literally racist towards nymphs and there is ZERO reason for them to have a relationship in the comic beyond the fans making gratuitous headcanons out of it? How is Rachel, a bisexual woman, so bad at writing actual lesbian relationships and giving them the same amount of attention as the heterocis ones without shoving them into the background as props for insincere queer rep? And what about Hera herself? How did she overcome her role as the Goddess of Marriage to finally divorce Zeus?

"Ares is still a dog!" Haha! Ares is still a Persephone simp! Happy end!

Why is Eros just standing there smiling at the camera struggling to be seen past Hedone who's just floating right in front of him? You're telling me there wasn't a better place to put her out of that entire panel?

"Hades and Thanatos have been making more time for each other. Sometimes they even have a conversation." I'm sorry, is this supposed to be funny? The man abused Thanatos for years, treated him as just a lowly employee when he was literally his adopted son, and now you're trying to play it off as a joke that they're "making more time for each other"? What the fuck is this?

TGOEM disbanded? Why? What about the women who were genuinely a part of it?

Also, Artemis and Selene are just good friends now because reasons? Because they're both affiliated with the moon, I guess? Why is Selene even in this comic-

"They are still looking for Kassandra". Who? And why? This feels like such a last minute addition to acknowledge a character that the comic spent WEEKS foreshadowing only to have her finally appear as a pointless McGuffin, but it's so last minute that it does nothing. I'm assuming it's Eros and Psyche looking for her, but like... why can't they find her? They're gods, tracking down one mortal shouldn't be that difficult LOL ???

And also, where the fuck is Leto?? You're telling me she was an accessory - maybe manipulating Apollo, maybe not - but we don't see what happened to her? Is she just back to being a social outcast then? jesus christ this comic isn't finished-

Kassandra is where the "where are they now" sequence ends, and we're treated to one final horribly written dialogue scene between Hades and Persephone, where they tell each other how much they love each other in a desperate attempt to convince the audience that this is, in fact, a romance.

There's this thing in romances called chemistry, and if you're good at writing it, you shouldn't have to write dialogue like this. You should be able to see how much the characters love each other through their actions, through their small behaviors around each other. It's not always about what they say out loud, it's about what they don't have to say, because when two people really share that close of a bond based on love and trust and chemistry, words often aren't necessary.

Hades and Persephone do not have that chemistry. It has been apparent for years now, but this final exchange really is the nail in the coffin. There are no microexpressions or subtle emotions, no subtlety in their word choice, and nothing unique setting their voices apart. It's all just "wow thank you for being such a wonderful amazing partner, you are amazing and I love you" word salad that has to do all the heavy lifting for the completely non-existent chemistry that's been at its absolute worst throughout this entire season.

And worst of all, despite this story trying so hard to be focused around Persephone, around her story, her trauma and her healing, her voice... it's still all just about Hades. In the end, she's thanking Hades, and forcing him to say "you're welcome". All of it is trying so hard to convince us that Hades has been a positive addition to her life, that she 'owes' so much to him, but we've obviously seen plenty throughout the comic that begs to differ. And even if he were a better person than he is, it still doesn't change the fact that once again, the men are being held up above the women, with the women being grateful to the men who choose them. LO can try its hardest to convince people that it's feminist, but it is, at best, reinforcing the very same structures of the patriarchal system that it claims to despise and rebel against.

We do get one line from Hades acknowledging Persephone's part in the relationship-

-and it falls so fucking flat because it's still about him and what she does for him, and because nothing about their relationship was built on any sort of organic chemistry. There was a lot more chemistry back in S1, but it was still predicated on Hades lusting after a vulnerable 19 year old girl.

Yep, and that's it. That's the end.

Except it isn't because Rachel wanted to try and be smart by including an 'epilogue' that's really just stretching the episode out pointlessly for another few panels. And of course, we had to get another time skip, just a final dose of salt in the wound, this time to years ahead when we inevitably had to reconnect with Persephone and Hades in the future after Melinoe was born.

To recap, Melinoe doesn't remember... because Hades had Morpheus erase her memories.

This plotline has really started to give me the ick because it actually feels very familiar. Bear with me here, because I'm gonna go on a bit of a tangent about my own original work, but it's because I wrote a plotline exactly like this years ago.

There's this... turning point, in Time Gate: Reaper, when the main character Uzuki is kidnapped by a Reaper (see: undead) who wants to experiment on her in the hopes that he can somehow gain her abilities to bond her soul with others (which later allows her to literally possess people after she becomes a Reaper herself). Mitsuhiro, the male deuteragonist who kickstarts the plot by telling Uzuki she's got a limited amount of time left to live (which he knows thanks to his magical death timers that mark themselves on his skin), feels an immense amount of guilt after finding out she was kidnapped by the Reapers (at this point she's been gone for three months), as they were originally after him; he worries that she was made a target simply due to him associating himself with her, and vows to rescue her.

With the help of some other spunky teenagers and anime trope characters, Mitsuhiro does eventually rescue Uzuki - but for the three months she had been gone, she had been tortured, abused, and experimented on, causing her mind to split and for her to lose any sense of awareness of who Mitsuhiro or her other friends were. She was no longer herself after the hell she had been through.

Mitsuhiro's solution to this is to have Springlock - another Reaper with motivations that are not yet clear to the cast - erase her memory. This is not a light decision that comes without consequences - for the remaining duration of the story, Uzuki is plagued by night terrors and panic attacks, unable to really remember what happened to her aside from whatever brief flashbacks her brain recalls in its haze of memory loss. She is traumatized, both physically and mentally. She has lost three months of her life and memories, and doesn't know how to explain why she's covered in scars that are still healing, why she's missing organs, why she's now blind in one eye, and why the sound of scraping metal and ticking clocks gives her panic attacks. Mitsuhiro has convinced her friends that she's suffering from memory loss due to trauma, but only he knows the truth that he forcefully took her memories away from her, without her consent. This was not the right choice to make. It was not noble of him, it was not a grand gesture of love, he made a decision on her behalf without her consent that has now resulted in her becoming a nervous wreck. Sure, she still would have had PTSD if she remembered what happened, but at least she would know why and could then seek adequate help. Without those memories, she has nowhere to begin to heal. And so we see the consequences of this throughout [AFTERBIRTH] and even the upcoming Thread of Fate. It is a long-term problem that is not going to be solved overnight, especially not with Mitsuhiro withholding information from her.

Reading about Melinoe having dreams about her experiences trapped in Tartarus with Kronos ... it felt familiar enough that I had to talk about why the insinuations of this are so fucked up. I know there are people who are gonna handwave it away as "she's just a kid", "these are gods so what does it matter", etc. but ... it just feels like such an oversight to have Hades effectively erase her memory of her trauma and then hint at them still being present in her mind through her dreams. She did not ask for that. And the fact that she's now dreaming about it all does not bode well. But we're supposed to think Hades made the correct choice, regardless.

But none of this is effectively expanded on or explained, because we get one final scene of Melinoe and Demeter visiting Persephone, who has just given birth to... Makaria?

So it turns out Persephone and Hades are just able to have biological children now. Don't know why, but of course they both look exactly like Hades.

What I was really confused by though is the fact that it's Makaria and not Brimos. Do you remember Brimos? The child that was foreshadowed in Hades' original fantasy dream sequence about his future children about Persephone?

Either Rachel completely forgot about him, or she saw all the criticism over the fact that Brimos isn't a confirmed child of Hades and Persephone (rather, an epithet that can apply to basically any Underworld god including Persephone and Hades) and that her "research" was dependent on a book she read when she was 13 and decided to axe that. But she went to the effort of establishing that all the dreams Hades had were , in fact, canon visions of the future, so good job Rachel, you created yet another plothole on top of the hundreds of others.

And that's where the series ends, on a final nuclear-family-photo of Persephone, Hades, Melinoe, and Makaria. Of course, Dionysus and Thanatos aren't present in this shot because this is Lore Olympus and only biological children count /hj

Why Rachel couldn't move the "the end" portion to THIS part, I don't know, but I'm also expecting way too much of the person who finished this 20 minutes before it was due.

So that's it. Six years and that's what we get. I didn't expect much, but I was still incredibly disappointed, as were many others who walked away from this dazed and confused. Maybe it's all the "haters" deserve at this point. But what of the fans? While many of them are celebrating this ending at best and tolerating it at worst, I can't help but think of the fans of this comic who hung on for so long in the hopes it would "pay off", just for it to go out as gloriously as a wet fart.

As for me, I have such mixed feelings about Lore Olympus ending, but none of them pertain to the comic itself. Most of what I'll miss from this comic isn't the comic itself, but the people who have made reading it every week so fun, the artists and writers who have enriched the content with their own interpretations of what could have been, and the experiences of being part of such an amazing community made up of people who are as long-term-obsessed about this piece of media as I am.

I get people who ask me a lot if it's "worth it" to be so engrossed in the LO slander, who assume that I'm going to "regret" ever being a part of it all... but from where I'm standing right now, I couldn't ask for a better view.

Even if I didn't love every minute of it, everything I have here I owe to this comic. This stupid, wonderful, boring, amazing, pile of shit comic.