#otherwise she has very bad manners

[inkbirdie]

i don’t normally post personal pictures here but my dog went to the groomers and her themed photo is incredible

she looks like she just walked off the set of the Muppets Christmas Carol it’s so great

they always take these kinds of pictures and usually she’s just sitting on the set nervously (she hates costumes) which makes it all the more impressive they could dress her up in russian orphan cosplay

(this is what she actually looks like btw)

her name is Neko and she’s a cutie :) she has anxiety and is weird and barks a lot but we love her anyway

[g4rvez-r3id]

Naughty Boy

Post Prison! Spencer Reid x Unit Chief! Fem Reader

Synopsis: You and Spencer are trying to have a little fun in secret until Emily walks in… Spencer decides to make it a little more interesting underneath your desk.

Category: Smut

Warnings: established relationship, power dynamics, reader and spencer keep their relationship private so it’s a bit of forbidden love trope, kissing, smut warnings: lowkey sub!spencer, and also lowkey perv!spencer, spencer has a boner, straddling, stroking, cunnilingus, getting caught, exhibitionist kink? fingering, cumming in pants, use of ‘sweet boy’, ‘good boy’ and ‘naughty boy’, spencer lowkey pathetic- idk that should cover it

Author’s Note: hey lovelies! lowkey this one kinda sucked but i wanted to write a smut oneshot 🤭 got this idea watching a sitcom lmao anyways post prison sub spencer supremacy 🛐 debating on writing a part two to this one where reader punishes spencer hehehe let me know! please enjoy this one!! <3

A lot of changes happened since you’d become unit chief of the BAU. It wasn’t your intention of becoming unit chief but Emily Prentiss believed otherwise. She passed down the tassel to you since you’d had so much experience on this team for years. And she also knew Hotch would’ve wanted it, too.

After Barnes tried to take the BAU down, Emily was given back her job and hiring authority. Feeling as if you’d earned the spot, she promoted you. Of course, you were a little anxious taking charge at first but Emily assured she’d stay every step of the way and even offered to take over when you felt the power to be a bit too much.

You and Spencer’s relationship had become more balanced since he got back from prison and you felt the need to keep your relationship under wraps for as long as possible. Nobody knew you two were together, you both were very careful when it came to your relationship. You’d only been dating for a year and a half since he got back from prison where he’d finally confessed his undying love for you and that he’d show you just how much he loved you when he got out.

You’d both been pining after each other for years before the fact. And since then every moment you’d shared together has been wonderful, despite keeping it hidden from your colleagues. It was for the better, especially now that you were a higher power. If it wasn’t strictly forbidden before, it definitely was now that you were unit chief.

You were lucky that you’d chosen someone that was usually good at keeping secrets. You both never arrived to work together, you both left work at separate times and only ever spoke in a professional manner to one another. Of course, nothing too far as to not speaking to each other entirely. You were surprised that no one had suspected a thing for the year and a half you’d been together.

Today, you were in your office, filing everyone’s paperwork and signing off on them one by one. You’d just finished JJ’s when there was a knock on your door. “Come in.” You spoke and behind the door had been your loving and doting boyfriend.

“This a bad time?” Spencer asked as he waited for your okay to come in. “No, no, not at all. Come in.” You smile and turn towards your already closed blinds. If you hadn’t already closed them, it definitely would’ve looked suspicious if you closed them now.

As soon as he shut your door, you stood up from your seat with a sly smirk and walk over to him. “So, what can I do you for?” You ask. “Oh, nothing, I just—” Spencer rests his hands on your hips. “I just missed you.”

You smile as you hold him close. It’d been a minute since you had a moment together. Cases were often disrupting already what little time you two had together.

“I missed you too, my love.” You say, looking into his eyes with a loving smile. “Why don’t we go out for dinner tonight? I’m working on the paperwork now so I won’t have to stay here too late tonight.” You suggest and he smile right back at you. “I’d like that. We could use a date night.”

You pull him closer to kiss you on your lips and as you pull him flush against your body, you feel it. It’s definitely unmistakable that he’s hard in his pants.

“Uh, baby?” You ask, pushing him a bit. “Yeah?” He asks as he leans his head down towards his collarbone. “Are you… hard just from a few kisses?” This wasn’t the first time he’d gotten an erection just from a few simple kisses from you. He pretty much gets turned on by anything you do. And you secretly love it.

“I can’t help it, Spencer admits into your neck. “You’re gorgeous.”

You blush at his words and smile, “Aw, thank you, my love.” His mouth stays on your neck, sucking on your pulse point. You pull him towards your chair and push him into it, getting on top of him and straddling him with a smirk etched on your face as you lean down and kiss him on his lips.

He tries to speak into the kiss, pushing you away for a brief moment. “Wait, wait, wait.” He says and you look down at him, your index finger tapping on his plump pink lips, staring down at them. You had a bit of an oral fixation when it came to Spencer Reid. Whether it was for yourself or for him.

“What’s wrong?” You ask. “I just don’t want us to get caught, that’s all.” Spencer stated and you smile, “I know, sweet boy. But you let me worry about that, okay? Right now, I just want to take care of my boy.”

You run your hand towards the front of his slacks and palm his hard cock through his pants. He moans a little too loud and you are quick to clasp your free hand over his mouth. “If we want to this to work, you’re gonna need to be a good boy and be quiet, okay?” He nods vehemently into your palm.

You stroke him a few more times through his pants and you check and see that your sweet boy’s eyes are rolling to the back of his head. You wonder how long you can keep him on the edge, how long you can make this until he’s shouting that he can’t take it anymore, how much he’ll—

Knock. Knock. Knock.

You and Spencer look at each other in horror before you quickly usher him underneath your desk and fix yourself up to the best of your ability, sitting in your seat. Surely, you could’ve explained that Spencer was just in here for a moment but you acted quickly and couldn’t risk whoever was coming in to talk to you to see what you two were doing. You two didn’t exactly have the best poker faces in the world.

“Come in.” You say, attempting to sound as normal as you can. The door opens and in walks Emily. “Hey, Y/n. Care if we talk for a moment?”

“Of course, come right in.” Emily nods, shutting the door behind her and sitting in the chair in front of your desk.

As Emily begins to talk with you about your most recent case paperwork and begins on giving you pointers on how to handle it quickly, Spencer is crouched underneath your desk and he has a perfect view up your skirt.

You’re too distracted with Emily being in the room to feel how his hands — his gorgeous hands — glide up and down your calf and they begin to reach in a higher place and you flinch as his nimble fingers touch your underwear.

Your eyes widen as Emily furrows her brows at you and seems to notice you’ve flinched. “Are you alright?” She asks and you nod, “Oh, yeah, super. Just too fidgety today,” You hold up your mug. “Too much coffee.”

Emily continues her advice as you feel Spencer removing your underwear down your thighs. You don’t see how he stuffs them in his pocket. He bunches your skirt to the best of his ability and you look down just for a brief moment to see that he’s become in a trance as he gawks at your wet pussy.

You’re so lucky that your desk is too high up for Emily to see what you two are doing. This is so wrong. You should definitely try and stop him but the fact that he could be caught underneath your desk — it just turns you on even more. Who knew you were such an exhibitionist?

“Another thing that I recommend that you do is—” You hardly listen to Emily as you try your best to give your undivided attention to her but it’s really difficult when the man you love is underneath your table, lapping at your pussy with his useful tongue.

You feel everything as he begins to suck on your clit and sticks his fingers into your hole and you try your best to keep a straight face. You bite your lip and try and keep yourself as hunched over as you can to not draw suspicion.

“Are you sure you’re okay?” Emily asks, once more. “Uh, yeah,” Your cheeks redden. “I’m… just not feeling very…” You feel as he rolls his tongue in a figure-eight on your bundle of nerves. “Well at the… the moment.”

“If you need to go home, I can take over the rest of the day.” Emily offers and you think about it. You definitely need the time to punish your sweet boy for being needy and impatient, so maybe going home would be a good idea.

“Uh, that’s probably a good idea.” You say. “Why don’t you let the rest of the team know?” Emily nods and leaves the room and you wait for the door to shut to finally gasp and whimper.

As Emily exits the room, she walks away from the door and shudders. Yeah, she knew what the hell was happening. The team pretty much knew you two were together already. You guys didn’t have the best poker faces in the world.

“Oh, you naughty boy.” You back your seat up a bit as you run your hands through his hair. He takes his mouth off of you for a second to breathe. “I like seeing you in an authoritative position. It’s sexy.” With that, he dives back in, running his tongue through your folds again.

You take your hand through his locks, pushing him impossibly deeper into your pussy. “Oh, my God!” You exclaim softly, eyes rolling back as he finishes you off. “Come on, cum for me. Please. Please. Baby, please.” He pleads in your pussy, moaning and sending vibrations through your body as he sticks his fingers back inside.

You bite your lip to contain your moans in your office and you feel yourself gush over his face and look at him, his eyes blown with lust and love. “Did I do good?” Spencer asks, wiping his mouth of your essence and you smirk.

“You did.” You admit. “Now, that Emily’s gone, maybe I should finish what we started.” Spencer looks down and shakes his head, “No, I, uh, actually don’t need help with that anymore.”

You furrow your brows, look down and sure enough, Spencer’s slacks are a shade darker near his crotch. You should’ve expected this, he’d cum at the slightest touch.

“Somebody definitely wants to get punished tonight.” You tease, dragging a finger to his chin and he holds his arms up in surrender. “Hey, sorry I wanted to look good for my boss.”

You shake your head with a chuckle. He can be so impossible sometimes.

So, you tell him to exit the office as discreetly as he can with his blazer over his crotch to hide the evidence and to call in for the rest of the day, making an excuse that there’s a bug going around so you can edge him for hours on end when he gets to your apartment.

[mavigator]

i talked about it a little bit already but i have things to say about it. for context, i was born with amniotic band syndrome. the amniotic band wrapped around my left wrist in utero and stunted the growth of my hand. i was born with about half a palm, four nubs for fingers, and a twisted half of a thumb. i can open and close my thumb and pinkie joint like a claw.

yesterday at work i had a shift in the room with 5-10 year old kids. i had my left hand hidden in my sleeve (a bad habit of mine). a kid asked if he could see my hand, and even though internally i was debating running into traffic, i said “sure you can” and showed him my hands. he stared for a moment, looking disturbed, and then said “i don’t want to look at that anymore”. that hurt to hear, but i understand that kids are new to the world and he probably didn’t mean it out of malice. i put my hand away again, told him that it was okay, and that i was just born that way.

he then went on to talk about how he knows a kid with a similar hand to mine and called it “ugly”. i told him that wasn’t a very kind thing to say and that he wouldn’t feel good if someone said that to him, and he replied that no one would say that to him—because he has “normal hands”, and he’s glad he does because otherwise he’d be “ugly”. i tried to talk with him for a bit about how everybody is born differently, but he just started talking about a girl he knows with a “messed up face” and pulled on his face to make it look droopy. i went on some more about how it wasn’t very kind to talk about people that way, but the conversation moved on to something else.

i’ve told my supervisors about it and they’re going to have a talk with his mom. what i wanted to say is this: i’m genuinely not upset with the kid. kids are young and naturally curious, and he clearly simply hasn’t been taught about disabled people and kind ways to speak to/about others. which is why i am upset with his parent(s). i know he’s encountered visibly deformed/disabled people before (he said so himself!), yet his parent(s) clearly haven’t had any kind of discussion with him about proper language and behavior. i knew from birth that some people were just different than others, but my parents still made a point to assert to be kind to and accepting of others. i wonder if adults in his life are the type of people to hush him and usher him away when he points out someone in a wheelchair. that kind of thing doesn’t teach politeness. it tells children that disabled people are an Other than can’t be acknowledged or spoken about; which, to a child, means disability must be something bad.

i’m lucky enough that this was a relatively mild incident, and that i’m a grownup with thicker skin. i’m worried about the other kids he mentioned to me. has he been talking to them this way? when i was a kid, i had other kids scream, cry, and run away at the sight of my hand. or follow me around pointing at me and laughing at me. or tell me i couldn’t do something because i was ugly or incapable or whatever. one time a girl at an arcade climbed to the top of the skeeball machine, pointed at me, and screamed at me to put my hand away and wouldn’t stop crying until she couldn’t see me anymore. another time, a kid saw my hand, screamed at the top of her lungs, and ran into my friend’s arms, crying hysterically about how i was scaring her. that second incident made me cry so hard i threw up when i got home. i can kind of laugh it off now, but having people react to me that way as a child is something i’m still getting over. why do you think i have a habit of keeping my hand in my sleeve? it just irritates me to see children that have clearly not been taught basic manners and kindness—their parents Clearly missed something pretty important .

[risuola]

▶ MOM ISSUES — late night talks, cuddles and lots of theatrics. that's what living with your boys mean, but your mom seems to see it a little differently.

contents: college+roommates!au, sa/domestic violence mentioned (it has nothing to do with the story, but it's a warning nonetheless) — wc. 800

a/n: there it is! i've been thinking about this story for months, drafting dozens of scenarios and finally it's happening! this series will be made of short pieces about three best friends turned roommates that slowly realize there's more to it than just friendship. it's not gonna be chronological, more so a series of random moments from their adventure - in the masterlist i'll try and organize it in an order, more or less. also, as you read it, can you hear Suguru's nagging voice when he calls Satoru's name or is it just me?

𝙇𝙊𝙑𝙀 𝙈𝙀𝘿𝙇𝙀𝙔 | series masterlist

First thing you learned at the beginning of your university journey is that no amount of sleepovers and cuddles could ever justify sharing an apartment with two grown ass men. To your mom, at least, because once you told her that you and your two best friends – Satoru and Suguru – are going to live together, there’s not a single phone call that goes without her assuming you’re being regularly subjected to domestic violence and sexual harassment. They are men, she always tells you and it’s been long since you’ve given up any attempts to tell her otherwise. They were futile after all and what surprised you the most was that your boys are no strangers to her.

With a low grunt you made your way above Satoru’s ass and dropped onto the mattress in the middle. Both men shot you a short glance before resuming their things – the white haired one was playing a game on his phone and the brunette was reading a book.

“How’s mom?” Gojo broke the silence, cutting the thick tension around you with his voice. “Still convinced we’re fucking you dumb every night?”

“Satoru–“ Geto was quick to nag his friend and his manners (lack of them, actually), and the other one didn’t skip a beat before defensively asking “what?”

“No, it’s fine,” you sighed, covering your face with your hands, hoping to squeeze out some stress out of your head that way. “I can’t believe it. She knows you two for over a decade and it’s only now that she’s absolutely convinced I’m being abused even though she knows I’m safe with you.”

“She used to feed us cookies and now what?” Satoru gasped, his theatrics reaching a critical point as he dropped his phone onto the pillow and fake-sniffled dramatically, clutching the fabric of his white shirt over his chest.

“Do you want me to give her a call?” Suguru offered, now focused more on you than on his book. He reached to you, pulling your hands away from your face and brushing some stray hairs away from your forehead. There’s a delicacy to his movements, a subtleness that the other one of your friends lacks and you’re yet again made aware of it, when Gojo throws his arm over your middle, pulling you towards his body as if you weighted nothing.

“No, Sugu, it’s pointless,” you replied, exhaling deeply and patting the strong grip away before it got a chance to suffocate you. The very aggressive cuddle only got more intense and for a brief moment you thought Satoru wanted to squeeze you out like a toothpaste. “Besides, we all know that whenever she talks to any of you, she’s as sweet as honey. It’s only me who has to listen to her weird assumptions.”

Gojo scoffed and giggled at the same time, a huff of air brushed against your cheek as he nuzzled his nose right next to your temple, threatening to bite your cheek. “Told you she’s gonna get addicted to criminal podcasts when you were introducing her to Spotify and you didn’t listen to me,” he said in a light tone and the few seconds of silence that followed made your heart skip few beats. Any sudden loss of words is always a bad sign when it comes to the blue-eyed princess. “Does your mom know about our sleeping situation?”

“Oh god, no,” you whined, pushing his face away before his teeth sunk into the flesh of your cheek that he always insists, reminds him of mochi. Sugar addict.

“Should I accidentally send her a selfie with our bed in the background? On the group chat?”

“Satoru.” Suguru grunted, nagging again and visibly reconsidering all the life choices that led him to being friends with Gojo. You knew that look, you saw it many times over years of friendship with them.

“You can do that, Toru,” you replied, your tone dead serious. “But if you dare, I will change my number into yours in her phone and you’ll be the recipient of the shitshow it will cause. And you know the hell will break loose.”

“Throughout heaven and hell, you alone will be the fucked up one,” Geto mused, pressing the dark red, hand-painted bookmark that you gifted him a year prior, between the pages of his book, ultimately deciding that it’s enough of reading for today.

“Point taken, no pictures then,” Satoru hummed and nodded once, ignoring the obnoxious insult and he let go of you, suddenly not overly dramatic anymore. He got back into indulging his phone-gaming addiction.

You let out a small sound of resignation and helplessness and crawled underneath the sheets. Suguru soon joined you on the pillows and as you quietly chatted the time away, Gojo fell asleep, nuzzled between your shoulder blades.

[sapphic-agent]

So. I finally read this fuckass comic that's been talked about again recently. I'd only ever heard about it before so I decided to check it out. I'm gonna go through some of the pages and give my two cents because why not?

I'm not gonna lie to you guys, I don't get how Katara is "out of character" here. This is very reminiscent of Book 1 Katara, who was playful and teasing and immature and acted like, y'know, a kid. I know Bryke might have you thinking otherwise, but she shouldn't baby Aang all the time.

Especially because he is supposed to be practicing and just... isn't doing it. This was her way of lightheartedly trying to motivate him, which I think is pretty on brand for her.

You could make the argument that Katara is being dismissive here, but honestly? The subject clearly makes her uncomfortable. She was kissed (without consent) before a major battle by someone she saw as a friend. Of course she was uncomfortable. She has every right to not want to talk about or acknowledge it.

Calling that out of character is not doing Kataang shippers any favors when the most common criticism against them is their tendency to brush aside Katara's autonomy.

(At first when I saw this panel, I thought maybe she was being a little abrasive towards him. But... She's the same way with Toph in The Runaway. This isn't behavior that came out of nowhere. Why is it that it's only a problem when it comes to Aang?)

I guess a better question here is, is Aang out of character? For me, it's actually yes and no.

I think they made him overly mopey. Like yes, he's had his moments in the show, but drawing hearts in the dirt? What kind of shit is this??

Not to mention his weird little monologue inside the rock ("Who's really playing games here, Katara?" Are you actually serious, Bryke? Idc what anyone says, those words would never leave Aang's mouth). It feels like a bid to make him more sympathetic so that the reader feels bad for him. I'm fine labeling that OOC.

However...

Do I think Aang would purposely physically hurt Katara? No. Do I think Aang would get so caught up in his emotions that he stops being mindful of himself and his surroundings? Well.

Both times you could label an accident. But both times resulted from Aang being careless and being unable to regulate himself. Now, you could make the argument that this is OOC because Aang learned and developed past this point. And I would agree, if we were talking about Book 2 Aang or even mid to late Book 1 Aang.

But honestly, character regression is very on point for Book 3 Aang. Especially post DOBS. Most of you already know about my beef with Book 3 Aang, so I won't get into that.

Now, I do think that Aang would be a little more apologetic and guilty considering how regretful he was in Book 1. But him prioritizing his own feelings instead of how he affected her? Completely on-brand. In EIP he was upset about how he messed up his chances with Katara, not that he kissed her without consent and upset her.

But even if this couldn't fit Katara and Aang as characters, even if they were outlandishly OOC and completely different from the characters we knew, that doesn't really matter. This comic is official and canon. Just like the comics where Aang ignores her in favor of his weird fanclub and she swallows her hurt and puts up with it. Just like LOK where Aang is a neglectful father and Katara is a mild mannered housewife.

You can dislike this comic and criticize its portrayals all you want. But it's still canon. You can't ignore canon, especially when your main argument for Kataang being better than Zutara is that it's canon

[faberown]

IS ADAM A MISOGYNIST?

Answer: NO. And this should be obvious to anyone with some brain.

But let's try to give more explanations. First of all, let's start outside from the show, and answer a more important question:

IS ADAM A MISOGYNIST IN THE BIBLE?

Well, no. Actually, Adam in the Bible is one of the characters that respect and love women the most, which is ironic considering the time when such things were written (let's remember that until less than 200 years ago women were considering PROPERTY of the men). But then, why is Adam considered a misogynist today? Well, because a problem that unfortunately has afflicted us for a long time: people forget that the mentality of people when the myths were written was very different from today, and what means one thing for us at the time meant another. But unfortunately people don't understand this concept, because it is much easier to read and interpret in a literal way, or rather, in a way that conforms to their own thoughts, so as to justify their beliefs.

Let's take for example another famous myth, that of Hades and Persephone. Many modern interpretations see it as a kidnapping, but the truth is that Hades never kidnapped Persephone: before picking her up, in fact, he had asked permission from Zeus, her father (and also his brother... who was the brother of Demeter, the mother of Persephone... so he married the daughter of his brother that was born from an incest between his brother and his sister... yes, the Greek gods were the embodiment of Sweet Home Alabama). Only after Zeus had given him permission to marry Persephone had Hades gone to get her, because again, daughters at the time were PROPERTY of the male parent; not CUSTODY, just PROPERTY. The mother and daughter had no right to say anything. So, in fact, a kidnapping never existed: Hades simply went to take what belonged to him. Not only that, but Hades behaved in an unusual manner for the time: instead of immediately taking advantage of Persephone as was his right, once in the Underworld he courted her and treated her with extreme respect. He has never cheated on her and has always sincerely loved her (they are literally the ONLY healthy couple in Greek myth), and he himself even proposed the deal to Demeter when he realized that she sincerely wanted to spend time on the surface being the goddess of spring.

See? If we don't base ourselves on a literal interpretation of the myth but rather integrate it with the culture and mentality of the time, suddenly what seemed like an act of violence becomes one of the most beautiful couples in all of Greek mythology, which in fact they were. Now, let's try to apply the same reasoning with Adam, Lilith and Eve.

First let's make one thing clear: Lilith DOESN'T exist in the Bible, so here, to avoid too much confusion, we will simply talk about sacred texts, but that doesn't change much since they were written in very close times. Now, was Adam a bad husband for Lilith? Obviously not. That is a modern feminist literal interpretation of the myth, because they wanted to find at all costs a way to criticize religion and patriarchy (and no, I'm not mad at feminists, I'm simply mad at all those who misinterpret something just to justify their beliefs). In this myth, as we well know, Adam and Lilith had to have sex and she didn't want to be under him, and he replied that she always had to be under him. The problem? Again, the mentality of the time was different. To begin with, the idea of ​​the time was that "sacred" sex, and therefore the only sex allowed in Eden given that it was an earthly Paradise, was only that aimed at procreation; and to procreate, according to the mentality of the time (a mentality that has persisted until very recent times), the only right position was that of a missionary, otherwise the child wouldn't be born (in fact the prostitutes stayed on top not to risk getting pregnant). Is this false? Of course, but for the mentality of the time it was absolute reality. So what Adam is saying to Lilith is not "You must be submissive to me, slave woman you must obey me patriarchy blah blah blah", but rather "sorry, but I can't magically change the position of our organs, if we want to have sex we have to do it this way, so just accept it". Basically, it is as if today a woman wanted to get pregnant by only having oral sex, and after her boyfriend points out that it is impossible she accuses him of being misogynistic: who would you side with? So no, Adam never tried to impose himself on Lilith, Lilith was simply a bitch who wanted to do everything as she wanted and thought she could go against even her own nature. And considering what she did AFTER she escaped from Eden, it's very clear how out of her mind she was; I won't go into detail, just know that she has a long history of cannibalism, rape and pedophilia.

Let's talk about Eve now; again, the idea that she was subservient to Adam arises from a modern feminist misinterpretation. Eve was created from Adam's rib to be "more docile", but then again, "docile" thousands of years ago didn't mean "submissive" at all. "Docile" was considered synonymous with "affectionate, loving, faithful, gentle", and did not take into account submission to the master or anything like that, which in fact had another name. Eve was therefore not created from Adam's rib to be his servant, but rather because in this way they would both complete each other and love each other in the purest and deepest way (the classic saying "I love her as if she were a part of me") . It is, in a certain sense, a variant of a Greek myth that saw all people once united, only to be divided by the gods, and therefore destined to seek their other half through love. In fact, Adam and Eve were a united couple and loved each other madly, to the point that Adam, in many variants of the Bible and even in more modern works such as Milton's Paradise Lost, eats the forbidden fruit because he doesn't want to separate from Eve (which places him, by symbolism, in a heroic way but also as a worse sinner than her, given that he chooses mortality and desire instead of divine grace). In some other versions, even, God doesn't free them together but places them in different places on Earth, so that, after the initial quarrel due to the forbidden fruit, they understand how much they need each other and seek each other, and then reunite in love and begin humanity.

Alright, and with that, we're done with the "accurate biblically story" part. Personally, I was very disappointed that Viv didn't use the real version but limited herself to choosing the extremely wrong modern feminist one, given that I think the original one is much more interesting. But now, let's go further and move on to the second big question:

IS ADAM A MISOGYNIST IN HAZBIN HOTEL?

Hazbin Hotel clearly presents many differences with the sacred texts, to the point of creating a mythology more in its own right than being a reflection of the real one; consequently, let's try to look at it without taking into account what actually happened in the Bible. But even in this case, if we exclude the story described in Charlie's book (which has so many holes that it is impossible not to consider it false, especially considering it was written by those who are described as revolutionary heroes, something never confirmed by any other character of the series), then Adam is not a misogynist at all. Let's analyze his character: all his best soldiers are women and he never shows any doubt that they would know how to do what, since time immemorial, has been considered a man's job; his right hand is a woman and he allows her to speak back on him and even boss him around sometimes; his boss is a woman and even when they disagree he still respects her authority; and the list is still long. The only times he seems to despise women is when he talks to Vaggie, but it is clear that in that moment he is despising her more than women, since she is a traitor and an enemy. Haven't you ever seen a movie where the villain takes advantage of the situation to make fun of the hero, behaving in a way he didn't behave with his henchmen or allies? Well, this is basically the same. Should we consider him misogynistic because when he talks to Charlie he makes silly jokes and pranks and proudly talks about his experiences? I expect such behavior from a slightly rude person, certainly not from a misogynist. Based on this logic, Alastor (who slaps Vaggie on the ass in the pilot) and Lucifer (who objectifies Eve and Lilith by talking about them as if they were trophies during the battle) are misogynists too. It's just a ridiculous thought.

In particular there is a scene in which I want to focus to demonstrate his total absence of misogyny, namely the moment in episode 6 when he and Lute notice Charlie and Vaggie in Heaven. In that scene, Lute grabs him by the collar and orders him not to speak loudly, with a very rude attitude to boot. Not only this is a total lack of respect given the different rank that they have (let's not forget that he is her superior, moreover in a military context, where discipline and respect are considered fundamental and absolute), but it also destroys any idea that Adam might be a misogynist for one simple reason: he lets her do it. People tend to forget this because Adam acts like an idiot and Lute acts like the bossy one, but the difference in strength between them is enormous. Lute is good at fighting with an angelic spear, but Adam can summon weapons, shatter magical shields with a punch, open portals, fire beams of power equal to the most powerful laser on Earth, and even defeat Charlie who in power level is equal or even superior to the Deadly Sins except for Lucifer. Adam can literally pick up Lute and break her bones like she's a breadstick, and no one could scold him for anything since he, being the general of the army, has the authority to give punishments if he feels there is a lack of discipline. If Adam had been a misogynist and a woman had dared to treat him that way, he would have immediately reestablished his authority by punching her in the face, or at least threatening her; instead, he lets her do it and listens to her advice, and he even seems genuinely sorry after she makes an offended face because of an unkind comment of his. Let's said it again: Adam, a being who can fight on equal terms with the princess of Hell and win, doesn't get angry after being treated badly and with disrespect by a woman inferior to him, but rather listens to her and follows her advice. Does this seem misogynistic to you?

So, to conclude, no, Adam is not a misogynist, he's just a slightly rude person who thinks his jokes are funny (and it must be said that no one ever contradicts him). He's like the classic pompous friend that any of us have had in life. Calling him misogynistic means to have no clue what misogyny, or patriarchy, is. Viv's problem (as unfortunately with many others) is that she uses words to describe her characters without really knowing what they mean, and she relies on her personal experiences (extremely subjective and without any objective value for the rest of the world) to write them. If Adam is indeed based on an ex-boyfriend, then that ex-boyfriend was just a ridiculous pompous prideful guy who didn't know what education was, certainly not a misogynist. I don't wish for Viv to meet a true misogynist in her life, but if that will happen she will immediately understand how stupid she was to describe Adam as one.

[raining-anonymously]

https://www.tumblr.com/raining-anonymously/773880708994318336/isnt-it-wild-how-anya-and-swansea-both

i want to hear the evidence for this it sounds so interesting 🙏 (when you have the time and energy for it ofc ^_^)

Anya

anya stole the gun and hid it in medical. this led to jimmy gaining access to the gun, leading to swansea’s death and jimmy’s. (take this one with a grain of salt; there are many ways keeping the gun in the cockpit could still have led to disaster).

anya told jimmy about her pregnancy despite considering him dangerous. this drove jimmy to crash the ship.

anya allowed jimmy to give curly his medication unsupervised despite considering jimmy dangerous. this enabled jimmy to physically abuse curly on at least one occasion.

anya locked herself in medical with curly and all the ship’s medication. this would have very likely led to curly dying slowly and alone, as well as cut the crew off from the last dredges of the ship’s medical supply in event of emergency.

anya locking herself in medical directly led to daisuke’s death. there would have been no cause for daisuke to go in the vent otherwise.

her storage of the gun in medical, along with her inadvertent causing of daisuke’s death, led to swansea’s death.

the sum of all three deaths led to curly being left alone with jimmy and tortured.

Swansea

swansea and anya have a private conversation where it’s implied that she told him about jimmy’s assault on her. he’s holding the axe in a vaguely threatening manner afterward. you’d think think this has the implication that he’s going to protect anya if the need arises, but the next time we see him, he’s extremely drunken and gives jimmy the axe. he’s also heavily drunk at the start of judgement day. i believe this is part of anya’s motivation for killing herself, as she was counting on having swansea in her corner if things went to shit and it was becoming apparent she could not rely on him.

if swansea had told daisuke what was really going on in utility, daisuke would have been less susceptible to jimmy’s manipulation.

if swansea had been sober, he would never have fallen for the spiked cocktail. therefore, no one would have been able to get into the vent, so the rest of judgement would not have happened.

swansea got into medical before jimmy took the gun. he would have seen the gun using out, but he did nothing to hide it or remove it despite extreme distrust for jimmy. this led to jimmy getting the gun and killing swansea— enabling him to torture curly— and killing himself.

Daisuke

daisuke helped to drug swansea. this led to his own death, which in turn led to the rest of judgment.

by crawling through the vent and unlocking medical, daisuke gave jimmy access to the gun, which led to swansea’s death and jimmy’s own.

daisuke also gave jimmy access to curly, enabling jimmy to later torture curly.

DISCLAIMER: THIS IS NOT TO SAY THAT THESE CHARACTERS ARE BAD PEOPLE OR THAT I HATE THEM. I THINK THEY’RE GREAT AND I WILL DEFEND THEM WITH MY LIFE. BUT THEY ARE OBJECTIVELY FLAWED PEOPLE WHO MADE IRREVOCABLY BAD CHOICES THAT UNDENIABLY LED TO ONE ANOTHER’S DOWNFALLS. and i think we should talk about it.

ANOTHER DISCLAIMER: obviously everything is predominantly jimmy’s fault. swansea, anya, daisuke, and yes, curly, all inadvertently led to each other’s doom, but jimmy harmed the crew intentionally on MANY occasions. he’s responsible for his own actions.

thanks for asking, anon :D

i still do think daisuke is the least at fault of anyone, since neither anya nor swansea told him not to trust jimmy despite both knowing what sort of person he was. and he was pretty heavily manipulated. but he did help drug swansea in a way that could very well have been fatal and he objectively did give jimmy access to curly and the gun.

[forsoobado137]

You mentioned misogyny for female nations in media but how do nations see the line between male and female I feel it's more equal among nations as war is war and a soldier is a soldier also you mentioned Hungary but how do other female nations handle misogyny

I feel like the role of a female nation in war varies a lot. Some are soldiers equal to men, while others are only allowed non-combat roles. Otherwise, the diplomatic and bureaucratic workload they have is equal to other male nations.

I believe they handle the misogyny in a lot of different ways. Belgium is kind of used to being pushed aside due to being surrounded by her flashier neighbours. But has her limits for how much patronizing she can tolerate. She will assert herself in sexist interviews, but she will do so in a polite manner because she doesn't want to "make a scene".

Seychelles has the misfortune of being a woman of color. So not only does she have to deal with misogyny, but also being objectified by tourists who see her as nothing more than "exotic beauty." Because of her role as a tourism destination, she's kind of forced to put up with it all. She tries to not let other people make her feel bad about herself, and focuses on enjoying life.

Belarus has zero tolerance for it. She'll literally threaten to chop a man's dick off if he's sexist towards her. She is unapologetically herself in interviews, and will be very blunt about what she thinks the journalists intentions are. She used to be harassed by paparazzi a lot for photos of her "acting crazy", but she fixed the problem by threatening their families.

Ukraine has to deal with a lot of misogyny and stereotyping. People often hypersexualize her because of her big breasts, and paint her as submissive, gold-digging bimbo (which is often how Slavic women in general are portrayed in media). Ukraine is dismayed by how people see her, and it makes her deeply uncomfortable. She usually focuses on what she can control and chooses to help others. She also attends women's marches a lot, and acts as a role model for Ukrainian women.

[yeeterthek33per]

Misplaced Toddlers and Mayhem (Katrina Gorry x reader)

A/n: I wrote this while I was drunk, so if theres any mistakes or something, and it doesn't add up... Y'all can blame the boxed LIIT 😂

Part two

Summary: Harper takes a walk, Kyra and Charli are in shit unless they find her, Mini has a heart attack, and you make a new friend... or two.

--------

"Harps?"

....

"Harper?"

....

"Shit."

----------

Honestly, you hadn't even expected to be out today, and now you're being forced to go out Christmas shopping and one of the places you were being forced to go to was basically a wild child haven.

Kids just about terrified you. You avoided them like the plague. One bad run-in was enough for a lifetime for you. One toddler shoving their dirty little mits into your face, leaving you coming down with a nasty lung infection, was enough for you.

They were grotty, and whiny and just not your crowd.

You used to love them. After that experience, though, you felt a little more enlightened, so you left the crotch goblins to their parents at all costs.

However, your sister was insistent you get something for your nieces. She doesn't understand why you can't stand being around them now. She knows what happened but thinks you're being ridiculous, and when you're relying on her to keep you housed for the time being, you had to play nice.

As much as you loved your nieces, you loved them from a much larger distance than your sister liked.

So you had to deal with holidays and birthdays. Meaning you were stuck doing toy shopping. In the local toy store. Where kids are allowed to run rampant, occasionally bumping into you, making you wince, and very occasionally, you receive an apologetic look from weary parents.

As you're walking down the sports aisle, with your nieces having taken a liking to soccer, you end up shopping for a couple mini balls and some cones, and what looks to be a training goal.

You aren't sure since you dont follow it majorly, but it'll do. Despite your own weariness, you knew they loved you and anything you gave them. You had to hand it to Ashley. She'd raised some otherwise pretty decent kids.

As you're browsing around for some pink cones, knowing little Emily liked the colour pink, you spot a little girl just standing there. It wouldn't be a surprise to you, considering kids are typically allowed to run rampant. But the little thing looked about two years old, if that.

What kind of parent let's their two year old go off on her own?

The moment she spots you, it's like she knows you. You had never seen this child before. She runs up to you, making grabby hands.

At first, you think she's aiming for the pink cones in your hand, but the moment you even offer them to her, she bats it away and continues making grabby hands at you.

"I- Hi kiddo? What's up, huh? Where's your mum? Or dad?"

"Wibbons, wasso"

And then it clicks. She wants your hair ribbon, though you don't register the second part. So, in an effort to keep the child calm (at bay), you pull your hair down and offer it to her. She quickly begins to play with it before trying to kind of half attach it to her own head.

It makes you laugh a little.

"Hewp me pwease"

It honestly kind of makes your heart melt a little. She seems like a nice kid. She's not really dirty as such. But you never know.

"You want them in your hair, huh?"

She nods eagerly. You sigh, knowing you're stuck now.

"Okay, turn around for me, I'll put them in, but you gotta stay very still for me."

"Okay!"

To her credit, for a two year old, she does stay very still. You carefully use the ribbon to create a mini bun with a bow and she's vibrating with excitement when you're done.

"Yayyy, tank yoou."

Well, at least she has manners.

"Wow, you look so pretty. What's your name?"

"Ha- Hart- Harp-..."

She seems to be struggling a little, and it kind of makes you giggle softly.

"Harpa!"

"Harper?"

She nods, giggling slightly.

"Alright, Harper. Can you tell me where Mum is?"

The little blonde looks confused for a second. Shakes her head at you and points off to the outside of the shop.

"Cha cha."

It makes no sense, and honestly, what did you expect from a two year old?

So you do what any responsible adult would do here, and ask the lady up the front to check the cameras to see if she'd come in with anyone.

Of course, no dice. She's visible walking into the store completely alone.

"Oh boy."

--------- meanwhile----------

"You fucking lost my daughter?! Charlotte Grant, what the fuck were you thinking?!"

Charlie glares at Kyra, who is snickering lightly as Katrina rips her a new one. Though Katrina whips around to her now too.

"Oi, what's so funny? You were supposed to be watching her too!"

Kyra gulps lightly.

"I was watching her! I went to go get ice cream for us all and told Charlie to stay with her!"

"Rubbish! I told you to stay with her while I went and got her some more chips. That kid eats like you do sometimes, I swear."

"What a load of bull!"

"Is not!"

"Will you two knock it off!"

Katrina is quick to shut the two bickering, totally adult women up. They both shut their mouths simultaneously and look to the shorter, much more terrifying woman.

"Where is she?"

"We don't know, we both came back, and she was just..gone!"

The older woman feels like she's about to have a heart attack. She starts running through different possible scenarios in her head.

"Is it possible that she could have wandered off? Maybe she went to go find that toy store we passed on the way?"

"Fine, we'll go check, but the moment she's not there, we're calling the police."

Both of the kids nod at Katrina and quickly take off running toward the area where the shop was.

--------

"Where Cha Cha? I wan ice keem now"

"Who's cha cha, Harper?"

"Cha cha sissy."

Okay, so, 'Cha cha' is her sister. That's a start. She's already had you kicking a ball around with her, and now she's demanding ice cream. So you duck outside to the ice cream truck quickly for a small cone, hoping to god she's not dairy intolerant or something.

She happily munches on the cone while you contemplate what to do. You could call the police. You probably should call the police. That is until she suddenly up on her feet, pointing erratically at a very frantic looking blonde and brunette, followed by a pissed but frantic looking shorter brunette.

"Cha Cha! Cha Cha, Mummy! Kywa!"

You're relieved. But now also mad. You were about to give this person a piece of your mind. It is so dangerous leaving kids on their own like that.

"Oh, Harper baby! thank god."

"Mummy, I made new fwend!"

The shorter looking woman looks up at you and the words you were going to say just kind of stop in your throat.

"You did, huh? Well, you gotta thank her for getting you that cone, then."

The kid looks up at you with a cheesy grin.

"Tank you y/nn"

The Mum turns to look at the other two, who are now looking at the ground, shuffling awkwardly.

"And you two! Apologise to this poor woman right now. You couldn't watch Harper for two seconds on your own, seriously! You're 21 years old! The pair of you!"

"Sorry!"

"We are really sorry."

You smile a little.

"Honestly, it's not a problem at all. She had us all a little worried when she walked in on her own. But she was really good, no trouble at all, honestly... well... aside from the glaringly obvious."

Seriously? Stick to your guns, you said. You're pissed, you said. Yeah, right. She is pretty hot, though...

Seriously..?

"Honestly, though, thank you so much for looking after Harper, I know she can be a little much for some, especially considering it looks like she's raided your hair ribbons too."

You chuckle a little shaking your head.

"Not at all, honestly. She was a little demanding, but she's definitely well mannered, and she was pretty relaxed the whole time. All I got from her, though, was 'Cha Cha', 'Ribbons' and 'Wasso'... I wasn't really sure what to make of that too much. I assume one of you is Kyra, though."

The shorter woman nods slightly, pointing to the brunette behind her. She waves a little. "I'm Kyra, this one is Charlie, or as we affectionately call her, 'Cha Cha'. I just call her Idiot though."

"Hey!"

The two of them start bickering, and eventually, Charlie has Kyra in a headlock. The woman in front of you facepalms and shakes her head at the two of them.

"I'm so sorry, just ignore those two. You'd think they were 5 and not 21 year old adults. I'm Katrina, Harper is my actual child. These two just forcefully adopted themselves to me."

At that, both of them stop for a second. Kyra speaks, "Hey! You still love me like your own!"

"Excuse me! She loves me more than you." And they're back to wrestling.

At this point, you're trying to stifle a laugh behind your hand. You look down towards the little blonde girl, who is now on her feet, looking at the two of them, the cone she had now fully eaten but completely covering her face and hands.

Katrina looks down at her as well.

"Oh my goodness, Harper. How do you do this every time?"

The little girl giggles as her mother crouches down to wipe her face with the napkin that had been around the cone, but you notice it's kind of already messy, so you grab some of the sanitiser wipes you usually keep on you and offer them to her.

She has a grateful look in her eyes as she accepts them from you.

"Oh my god, thank you, honestly, I swear I normally keep this kind of stuff on me but I kind of just dumped everything in the car when I got the phone call saying she was missing."

"It's all good. I'm happy to help."

She smiles gratefully at you.

When she's done, she picks Harper up to keep her still and in eye sight, but the toddler has other ideas and reaches for you instead making grabby hands, wanting into your arms instead.

Katrina goes to protest, but you reassure her and take Harper into your grasp, the little girl quickly latching onto you and starts playing with your necklace.

"I swear, I've never seen her like this before. She's usually pretty shy around strangers or any of my friends that she doesn't spend a lot of time with."

"Really?" You ask, surprised. The girl had been so friendly with you. Why you?

"Really. I've never seen her like this."

You look down at her, smiling softly. You poke her hand a little.

"Guess I have a new friend."

What has gotten into you. You thought you were supposed to be terrified of kids. What's different about this one?

"Guess so." You meet Katrina's gaze, and she suddenly looks down at the ground before she turns to look at the other two, and you think you see a hint of a small blush rising to her cheeks.

Must be imagining things.

"Hey, you two! Stop fighting. Can you go back to the car and get Harper's bag, please? I'llmeet you both where we were sitting"

Kyra quickly let's go of Charlie, and they both nod and take off towards the carpark. You watch as Charlie shoves Kyra a little on the way, and you snort slightly.

"Hey.. I was wondering if you wanted to come and get something to eat with us. If you have time, of course, I wouldn't wanna take any more time from your day."

"Honestly, I'd take anything to get away from christmas shopping, but if I come home with nothing for my nieces, my sister might actually kick me out." You say jokingly, rubbing at your neck.

"Oh! Of course! We better let you get going then." She looks a little disappointed at first but quickly covers it with a smile. She just kind of stands there.

"Yes.. yep.." You hesitate for a second, and then you slowly gesture at the happily occupied Harper in your arms.

"Right! Sorry, yep, taking her now."

It's adorable and makes you grin a little, leaving a warmth to fill your chest. Though you're a little sad that you don't get to spend more time with them.

Harper tries to cling to you as you hand her over, but she sulkily climbs back into Katrina's arms once she realizes you aren't staying.

She buries her head into her mum's neck when she's situated. It makes your heart melt a little, already a little attached to her.

"Nice meeting you all." You smile and turn to leave back into the toy store to continue shopping.

Katrina pauses for a minute before leaving with Harper. She feels weird. Like she doesn't really want to let you leave. Sure, you were attractive, and Harper clearly loved you already, but this was just a really lucky situation, and you were technically a stranger to her.

She gets back to where they were sitting and sets Harper down beside Charlie and sits next to them.

"Hey, you okay Min'?"

She looks at the blonde confused.

"I mean aside from the heart attack you gave me, fine, why?"

Charlie, at least, has the decency to look a little guilty at that.

"I know, I know, I'm sorry. I promise we'll look after her better. But not what I meant. You look a little.. I don't know... disappointed? Not mum disappointed, more like sad disappointed."

Katrina steels her features at that.

"What? No.. I'm fine. I'm a little disappointed for Harper, if anything. I've never seen her so quickly attached to someone like that."

"Yeah, I thought it was weird that she let someone near her, actually."

"Right? She's always been wary of everyone. She double took me when she was born even."

Charlie chuckles a little at that.

"Sounds about right for her, seriously though, I don't think it's just Harper on this one."

Katrina raises a brow.

"She's pretty hot, she looks about 28ish, definitely your type."

"If she's so hot, why don't you date her?"

"Because one, I'm happily single and two because she was clearly eyeing you up."

"Yeah, because I was looking for my kid, who was practically clinging to her."

"But even after that, Mini, you know we do pay attention. She clearly had the hots for you."

It's Kyra that interjects now.

"Seriously, you two, what is it with you and interceding my love life?"

Charlie grabs her by the face and turns the now suddenly defensive Katrina's head towards her.

"Because we love you, and we want to see you happy, and we want what's best for Harper and what makes her happy. We can see you were clearly attracted to her. Now, if you don't go back to that store to try and find her and get her number, I will do it for you."

She goes to protest but again she's shushed by the blonde.

"I promise we'll watch Harper with our lives. Now please go find her."

Katrina's hesitant, but she blows out a breath, and she receives a tap to the butt as she turns to go back to the shop. She glares back at Charlie, but she's already preoccupied, making her daughter laugh as she tickles her.

They were right. It's always been her and Harper. Even with the whole team and sisters like Kyra and Charlie, it felt like it's always been her and Harper against the world. That's always felt like enough, but even then, she knew something had always felt a little disconnected.

Now wasn't the time to delve into stuff like that, though. She jogs back towards the store and sees you leaving the store right as she gets to the path leading up to it... with a trolley full of... soccer gear?

She shakes away the thought for a moment and jogs up to you. "Hey!..." and she realises then that she never even got your name.

You look up at her, tilting your head in confusion but smile nonetheless.

"Hey you, I thought you'd left already. D-Did you need something?"

She's a little out of breath from the impromptu jog. To be fair, it is her off day.

"Hey..sorry to bother you like this, but I honestly couldn't leave without at least asking first."

"Is everything okay?"

"Of course, yes, everything's great, Harper is with the other two. They promised they'd keep an eye on her this time. It's just that... I've had a bit of a think and..."

You're patient while she speaks, and the curl of your lips as you listen has her heart racing a little.

"Would you want to, maybe, go out sometime?"

That catches you off guard. You weren't expecting that one. You blink in surprise at her.

"Like just the two of us?"

She nods, a little shyly.

You bite your lower lip to suppress a bigger grin than you want to let out.

"Of course, I'd love that."

"You don't have to if you dont want to though, honestly I understand if you're taken or- wait, yes?"

You stifle a little laugh and nod at her. Yeah, she's definitely cute.

"Yes, Katrina, I would love to go on a date with you."

She grins widely.

You offer your phone to her, the contact section open with a new contact.

"Add your number, and I'll shoot you a message?"

She agrees quickly and types her number in and gives you your phone back.

She gestures back to the trolley beside you. "Soccer fans?"

"Their mothers are. The girls are taking after them pretty quickly, though."

That's when she spots the pendant on your necklace, a little soccer ball. Was that why Harper was quick to go to you?

She smiles and nods, understanding, before looking at her watch. "Shoot, I have to go. The girls are probably worried I got kidnapped or something."

You let out a soft laugh and wave her goodbye as you walk to your car to load the stuff back into it.

You save her contact as "Cutie 💖" and shoot her a message when you get back to your sister's place.

-----

Katrina is just getting into her house when her phone pings in her pocket.

"Date on sunday night? The name's Y/n, btw 😉"

She's smiling a little too hard at her phone, and it doesn't take long for Kyra and Charlie to pick up on it.

"Who's that you're messaging, Min?"

She shakes her head.

"Nobody of your concern."

Kyra gasps in excitement. "It's that girl, isn't it?"

"I have no idea what you're talking about."

She's glad she's got the night off for sunday now, though.

"Anyway, any chance you two can watch Harper sunday night?"

The pair look at each other, exchanging looks with cheeky grins before nodding.

Katrina's watching them warily, but then they both suddenly squeal and tackle the midfielder to the ground in excitement.

"We're so proud of you! You're going on a date!"

"Who said it was a date?" She gasps from under them both, having the air knocked from her after hitting the floor boards.

"Puhlease, that look in your eye told us everything we needed to know."

"Ugh, get off me, I technically haven't even said 'Yes' yet."

"Well hurry up and do that!"

"You have to get off me for me to do that!"

Shes practically dragged to her feet and handed her phone, the two girls looking at her with sparkling grins and giddy looks in their eyes.

She types in a quick message and sends it to you.

'Hey! I'm really sorry about not asking, I can be a bit of an asshole when I'm not paying attention. 😅 but yes, definitely. Sunday sounds perfect 😊'

Her phone pings straight away, it makes her grin just that bit more.

"It's all good. You had three kids on your hands 😉 I probably would have done the same thing. 6pm sound good?"

Charlie whines pouting. Katrina hadn't even realised they were now reading over her shoulder.

"Aw man, and to think I liked her already."

"Oi! Sticky beaks, knock it off. Go get Harper cleaned up. Or something."

They both groan and take Harper to go get washed up and changed.

'6pm is good. See you then 😉'

------------

Let me know if y'all want part two for this.

[korasonata]

Was bored and also procrastinating other things, so have a ranked list of Hermits based on whether I think they can cook or not for funsies. Vibes only.

—

Beef: The expert. Is well versed in almost all manners of cooking, and is an extremely skilled chef, particularly with regards to meat dishes, and is a particularly skilled butcher.

TFC: Also up there with Beef, but TFC is also a master of rare ingredients. He’s good at foraging, and he uses ingredients in his cooking that aren’t typically used in just every day life. His techniques may seem a bit primitive, but they are highly effective and his style of cooking might be called simple food made complicated.

Stress: Also a very good cook who puts a lot of emphasis on nutrition. She makes meal plans and prepares a lot of her food at the beginning of the week, and her cooking always makes sure to include a balanced diet. She enjoys cooking and likes to have fun with it. Makes a killer roast chicken.

Impulse: Is surprisingly good at home style cooking. He doesn’t make anything fancy or anything, and his presentation is always a little sloppy, but his food at least tastes good.

Cub: Doesn’t cook much, but when he does he is actually secretly a very good chef. He cooks for himself a lot, but it’s only once in a blue moon that someone else gets to eat his food.

Wels: Is a decent chef, but is incapable of cooking for a single person. He makes way too much food every time and is incapable of portioning, and as such he is the direct inverse of Cub, and he never cooks for himself if he’s alone. Is also very good at desserts.

Ren: Has a bottomless pit of a stomach. Has a big appetite and loves all food and really enjoys big dinner feasts. Is also good with cooking meat specifically. He has a special smoking method that is a real crowd pleaser. Is also good with basic rice bowls and his cooking tastes very homely.

Gem: Is good at treating fish specifically. Also anything involving wild game. Like TFC she is very good at foraging and using ingredients found in the forest. Her cooking is a bit unrefined, but has a very light, refreshing sort of feel to it.

Cleo: An average cook, but is very good at a few specific dishes. (As a side note I’ve actually tried one of Cleo’s recipes that she talked about on stream and it is literally the greatest thing ever, I made it once and people request it all the time)

Joe: Is good at making drinks specifically. He makes a mean margarita and is good at making mixed drinks and cocktails, but otherwise is an average chef with regards to food. Makes very good nachos though.

Doc: Like Cleo, Doc is good at making a few very specific dishes. He makes several German specialties and is also very good at treating vegetables, but outside of these specialties he is rubbish.

Bdubs: Stereotypical grill dad. At least he thinks so. His seasonings consist almost exclusively of basic spices. Meat is the only thing he cooks, but otherwise possesses no real flare for cooking. Despite this, he thinks very highly of his skills, and the food he puts out isn’t bad really, so the Hermits still let him cook every once in a while.

Scar: Scar always tries his absolute best, and his cooking swings wildly from perfection to the most disgusting thing you’ve ever eaten in your life. There is no in between. It’s 50/50 what you’re going to get, but he has fun either way.

Jevin: makes a mean Mac and cheese, but outside of this, he is a very basic cook. He makes himself sandwiches and grilled cheese and maybe some pasta, but otherwise doesn’t cook much else.

Hypno: Ok. He can kill something and cook it, but he’s not the best butcher and his food is just kind of thrown together. There’s no real theme to any plate he puts out. He’s half decent with seasonings and spices though.

XB: Can make fried rice and that’s about it.

Keralis: Can copy other people’s dishes when given instructions, but when left alone has no idea what he’s doing.

False: Doesn’t really cook much. She probably could, but most of the time she’s after something quick and easy. Whenever she gets hungry she just grabs an apple from the bowl or eats whatever leftovers are in the fridge cold.

Etho: Lives almost exclusively off of instant ramen.

Zedaph: treats the kitchen like a chemistry lab and anyone eating is a test subject. He’s not allowed in the kitchen very often.

Xisuma: This man could burn juice. I don’t know how, but he’d do it. He is a sopping wet cat in the kitchen. He’s the type that tries to cook but fails so miserably that every time he just ends up making a bowl of cereal for himself instead.

Grian and Pearl: have cooking battles competing over who can make the most disgusting dish. Grian is like the little toddler that always wants to help but is so bad that no one will let him. He’s also always the one standing over your shoulder and sneaking bites of things when you turn your back. Pearl can’t cook herself, but she has good knife skills so she is often allowed to help out with the prep work.

Mumbo: Will eat anything and everything you throw in front of him. He does not care. He also does not cook at all. When left to fend for himself he demolishes the kitchen by eating every raw ingredient in the pantry. This man would eat a sack of flour if you let him.

Tango: This man does not eat unless you make him. You have to physically drag him to the table to get any kind of nourishment, but he is always very appreciative of other peoples cooking.

Iskall: Orders takeout exclusively.

[burnt-kloverfield]

Just saw Heretic, the one with Hugh Grant and Sophie Thatcher and Chloe East, about the Mormon Missionaries.

It's definitely a scary movie. It tried to be mind bending and twisty, and it was, but not in the way it was trying to be. I'm just jazzed that there's a horror movie with Mormons.

It's definitely not a Mormon Horror Movie, just only slightly closer to a Horror Movie about Mormons. I did really enjoy this movie, but it was clear that it wasn't made by Mormons. Like there's a certain flavor of behavior that mormons have that the missionaries just didn't have.

Like I'm Mormon. I was a sister missionary. I was a dang good sister missionary. These missionary characters only vaguely resembled the sister missionaries I served with. Like, they've got the cardigan down. But otherwise?

I literally leaned over to my brother in the theater and went "these are really bad missionaries." Like they didn't actually even open the Book of Mormon. They didn't read a scripture. They didn't even start with a prayer. These gals had horrible conversation skills and absolutely did not teach anything. They came in totally unprepared.

Hugh Grant is perfect and phenomenal in this, and I have met so many people saying the exact same things he has. Countless people with his talking points. (At least until we get to the legit scary parts of him. That was actually scary.)(no spoilers because holy crap)

The last part of the movie felt rushed, and like something was missing, like they cut out scenes or something, but the ending was nice and a relief. Good ending.

It was a good movie. The thing was that the details that it missed were in the cultural aspect of how Mormon missionaries(and mormons in general) actually act. Like you wouldn't know unless it was your culture or religion, you know? Like, they didn't even have a Book of Mormon in hand to give him. Sister Paxton just had her one she had all marked up and sticky noted in her bag(she didn't even have her quad with her?). And the one elder that came looking for them? Where was his companion? There are few things that a missionary gets sent home for and leaving your companion is a big one.

I do appreciate the direction they took with Sister Barnes, of her being smart and logical and sincere and tragic backstory. Very perfect set up and good foil for Sister Paxton who was born and raised mormon in Ogden Utah with 8 siblings. And honestly, I am glad that she got to be smart, too.

But it was very clear that the actress didn't know how mormon behaved or acted. She didn't pray like a mormon. Any born and raised utah mormon is going to fold her arms over her chest and bow her head and start her prayer with Dear Heavenly Father. But Chloe East instead clasped her hands. I rarely ever see Mormons clasp their hands if they're not on their knees at the side of their bed.

Like, it's not like it's a sin to pray that way, it's just that there's a way people who were born and raised a utah Mormon move and act and speak. And this wasn't it. And I could tell and it was distracting.

Like Hugh Grant spoke more like a Mormon than the sister missionaries did. He got the wording and the phrasing and cadence right for certain things. Especially the little Morony vs Moroni mispronunciation thing.

It's just interesting how clear it is to tell when someone isn't actually a part of the culture just from mannerisms.

Sorry for the long post but dang, this movie was good, and could have been so much better, but how do you convey that there's a certain way that utah mormons hold themselves.

[a-killer-obsession]

Fuck it,

👒Strawhat sex headcanons

cos I'm absolutely on deaths door sick rn and I just wanna drabble my thoughts

🔞 Minors DNI 🔞

Luffy

Ace and entirely ignorant of anything. Come on now, you saw him on Amazon Lily. Next!

Zoro

Fucks, but half the time leaves lovers unsatisfied. Falls asleep immediately so he doesn't even see their grumpy pout. Bisexual but leans towards men

Loves to deep throat, giving and receiving

Always rough

Pretty even spilt between top and power bottom

Loves impact play, giving and receiving

Loves public sex, will absolutely keep going if he gets caught. Same goes for masturbation, even if Sanji starts kicking the shit out of him while he's still going

Nami

Gay gay lesbian gay. Loves those ladies! Big fan of tits especially

Fingerbangs like her life depends on you cumming. Call her the Squirtbringer TM

Loves to use toys on her lovers, especially vibrators and butt plugs. Loves to see her girl with a pretty sparkly diamond plug

Kinda vanilla otherwise though

Top for sure

Ties some absolutely stunning shibari

Usopp

Straight but what a ally fr. Respectful AF

Gets flustered so fucking quick if you flirt with him though so you'd have to be so fucking foward to get him in bed. You'd have to be practically riding him before he stops being a blushing mess

Actually pretty good in bed though, decent size and stamina. Never misses hittin that spot yah know? 😎

More vanilla than angel cake though, and will absolutely chicken out if you ask him to spank you

Talks big talk though. Good with his mouth at both ends

Switch but don't expect him to be a dominant top

Doesn't know the meaning of a quick fuck, this man ✨️ makes love ✨️

Sanji

Straight, for sure, don't mention that time with the waiter boy, or that time with that very muscular male customer, or that time when he-

Anyway *cough* loves having anything in his mouth. Practically begs to have his face sat on, can absolutely cum untouched from that alone. Sometimes gets so into it that he forgets he's supposed to put it in at some point and just ends up eating you out for literal hours till you have to literally rip him off

Don't mind the blood nose :P

Cums so quick once he's in that its frankly embarrassing, but he'll keep going after, for you~

Walk him like a dog 🐕 this boy is a BOTTOM

Absolutely has a praise kink

Needs it to be romantic every time or he WILL pout. He'll give you a quickie if that's really what you want but he prefers to take his time, set the mood, make you a nice cocktail and light some candles

The first time you play with his ass he'll act like he hates it, but then he'll end up shyly asking you to do it again

Wants zoro to destroy his ass

Chopper

MINOR, NEXT!

When he grows up tho... he is a deer... he likes deer... maybe a mink would be ideal actually

Robin

Oh she for SURE fucks

Pansexual but prefers older lovers

Loves to be a soft dom, big time into forcing orgasms out of her partner and teasing them

Open relationship with Franky, loves to play good cop bad cop with him and a sub (with her as good cop)

Abuses her devil fruit for sure, turns her partners into overstimulated, fucked out messes

Loves to ride faces but is also very skilled at giving blowjobs

Has no issue eating ass

No kinks are taboo to her even if she's not into it, she'll give everything a go though, for research

Really skilled with shibari, shares notes with Nami all the time

Reads a lot of bodice rippers and quite literally takes notes, like she fully has a notebook of things she wants to try and is working her way through it

Doesn't really care about getting off, she mostly just likes to watch other's get off. Sex is one big research project to her and shes more than happy to study

Franky

About as fucked up in bed as Wire, biggest deviant of the crew for sure. Wano afterparty you bet they had a long indepth conversation to compare notes, and Wire was happy to show Heat off for him and Robin

Bi with a preference for women

Has all manner of toys and furniture, probably made most of them himself

Usually a hard dom, but unlike Wire he has no problem being a bottom as well

He is a ride you will not survive, your wheels will come right off

Loves risky public sex (fic coming soon 😎)

You better believe when he rebuilt his body he gave himself the biggest dick you'll ever see, its ribebd for your pleasure and it ABSOLUTELY vibrates

Don't expect to be able to walk afterwards, but he's an aftercare king 👑

Brook

May not have the facilities to get off, but still enjoys watching

Often watches Robin and Franky, especially if they're playing with a sub. Sometimes he'll join in with a toy because he's hesitant to push raw bone against a lover (ha, bone) but usually he just watches

Plenty of imagination though, sometimes he'll tell Franky and Robin what to do, more in a suggestive way than a dominant way

I imagine he would feel sexual enjoyment the same way one might enjoy a good cup of tea. He may not be able to get physical relief but he still enjoys the mental tingle

Before he died he was a massive slut though, rockstar vibes, every carnal disease you can think off. Was big into having his face ridden and sex under the influence

Too old to understand labels but if you really took the time to explain he'd probably say he was pansexual

Jinbei

This one goes out to my homie 💖

Straight but has no problem with it if swords happen to cross. Which is just as well, since there's canonically two of them 🍆🍆 He'd also never suggest a threesome, but he'd say yes if you suggested it

Also enjoys watching along side Brook. They call it "Oldies Night" when the four of them get together to watch Franky and Robin destroy some sub

Super respectful! Will constantly make sure you're comfortable and allow you to guide him to do whatever feels best

Not big into kinks but happy to explore them if it makes you happy. Won't do anything that'd inflict pain though, even if you beg for it, he's too big of a softie

Has that deep generational sense of taboo and shame instilled in him that makes it hard to get him to open up about what he wants. You'd have to have been together for a really long time to get him to be honest. Even so, makes you feel completely comfortable sharing your own kinks and never ever makes you feel ashamed even if he's really not into it

Eventually you'll get him to reveal that he enjoys being edged and cockwarming

Not a big fan of young girls fawning over him cos of his ex-Warlord status. Much prefers women his own age. No real preference for basic humans vs fishmen vs even minks, they're all human in his books

God he's so strong though, given how much bigger he is than most woman he will straight up use you like a cocksleeve if you ask him to, I absolutely would, dear god

Never leaves a partner unsatisfied, but I think he'd avoid giving oral cos he'd be so anxious about his teeth and he never wants to hurt a lover

[sixx-sixx-sixx]

THE TRADER’S DAUGHTER - cooper “the ghoul” howard x female!oc — PART 2

EDIT: FOLLOW @bonafideyapper FOR FUTURE PARTS!

warnings(?): allusions to bisexual!cooper towards the end; bad grammar/bad writing/bad formatting; (I was intoxicated while I wrote a lot of this); bad depiction of a southern accent (I’m literally from the south); incorrect fallout lore; overall warning for general fallout violence; Daisy is 4/5 here; dbf!cooper

part 1

During Josiah’s time roaming the aftermath of the fallout for the benefit of the vault, he became an important part of forming strong relationships between the vault and outsiders. Under his guidance, the vault had a successful trade relationship that spanned over much of the old territory.

Daisy has very distant memories of the vault, mostly just an old television set that played movies that she could vaguely make out. To her, life didn’t really begin until she woke up on an old couch being watched over by an old woman that owned a shop in the small town. Shortly after their arrival, her father established himself as a trader of chems and other invaluable items, creating a permanent place in the town after a few months.

cooper was a frequent customer at Josiah’s. He’d gotten him a place to take refuge in after escaping the vault with his daughter, after reaching out to an old female friend of his. she owed him a favor for him saving her ass from some raiders, and then for cheatin’ on him with the same fuckin’ raider.

Coop would develop a soft spot for the trader’s daughter. He’d known from the moment he met her that she’d be a firecracker someday. the first time they had met, the little girl was no taller than a bean sprout, and she was hidden behind her father’s legs. she had been playing with a handmade doll behind the counter when cooper walked through the door, greeting his old acquaintance with a big smile.

“Josiah, you son of a bitch. How’re you settlin’ in?” the ghoul drawled easily, reaching out to shake the man’s hand in a faux-professional manner before pulling him forward to greet him.

The brown eyed girl looked up in curiousity at the sound of the bell on the door, immediately getting up to hide behind Josiah’s legs. she had never seen anything like him before, the skin of his face stretched tight and scarred in various spots from decades of radiation exposure (and probably some chem abuse, but whatever, it kept him from going feral). The vest he wore under a long overcoat was buttoned neatly despite his otherwise disheveled appearance, and there was a once-fancy faded blue shirt peeking out from the under the vest. Something in her little brain recognized the pattern of faded gold, she thought she had seen it in one of the many tv-screened dreams she would have each night.

The ghoul set his bag of various meats (totally not just a whole bunch of ass jerky, he saved that for himself whenever he got the chance) and other supplies down on the low countertop between them and tipped his hat to the little girl, offering her a yellowed smile, “howdy, li’l lady. you must be that flower your daddy’s always talkin’ about.”

Josiah looked down at his kid and forced the young girl into full view of the ghoul. He wasn’t raising no pussy, he had to expose Daisy to everything the wasteland had to offer. And, despite his appearance, Cooper had a larger than life aura to him even after all of the damage he had sustained through the years. The father was sure his kid would adapt to the ghoul.

“Introduce yourself, Daze. Coop don’t bite.” He formed a joke and looked over at the ghoul, “Unless you misbehave, then he might eat you right up.”

“It’s nice to meet you, Mr. Cooper. My name is Daisy.” She said in a polite little voice, still working on looking up at the cowboy. She wasn’t afraid of him, she just had some nerves was all. Getting used to the new scenery around her was gonna take some time at her young age, but she’d be a natural in no time. Whole town would gonna be in love with her by the time she turns 6.

“pleasure to meet you, little Daisy. you can just call me coop, no need to be ‘fraid of me. i’m the best bounty hunter this side o’ the wasteland, one of the good guys.” coop says the final line with a easy lie, his eyes flashing up to Josiah who had seen the internal conflict he faced in the time he had known the ghoul. He sure as hell wasn’t one of the good guys, but he could be for the few people he cared about in his big age.

“Now, why don’t you go run along an’ let the grown folks talk alone?” Cooper reached down and patted the top of Daisy’s head, watching her run along to the back office.

Josiah pulled a case out from under a shelf and counted out the vials of chems that he owed the ghoul in exchange for the supplies he brought, giving him a couple extra for a cheaper price because he liked the guy.

“You did a good job there, Joe. She’s gonna be a little killer some day, I can tell she’s got your survival instinct already. Between the two of us, she’s bound to learn at least two useful fuckin’ skills.” Cooper leaned over the counter a bit and took the box from his old (lover) friend. Josiah nodded in agreement and looked back towards the door for a moment, “Thank you, Cooper. I’m serious, I owe you more than just a couple extra vials.”

Cooper shook his head and lightened the mood, “Us cowpokes gotta stick together up here, you’ll learn that soon enough, Vaultie. Don’t you worry about her, you know I keep my word.” As soon as Josiah had successfully gotten his sleeping daughter out of the vault, he had made his oldest wasteland acquaintance promise, swear even, to protect the young girl in case anything were to end up happening to the old vault dweller. Cooper had always been a man of his word, no matter how badly the effects of radiation and the fucked up immortality would change him.

a/n: okay!! welcome to the end of chapter 2, definitely leaning towards cooper being (canonically?) bisexual & again definitely some kind of gay tendencies between the old buddies. But anyways, maybe I’ll flesh THAT out if anyone’s interested.

a/n 2: also considering accepting requests for cooper stuff outside of Daisy’s story, gonna try my hand at 2nd person POV writing. if you have something you wanna see me try to flesh out then feel free to message me/send me an ask ❤️

taglist: @savanahc @one-of-thewalkingdead @silverose365 @neverendingdumptser

[junk-lion]

i have to write approximately one thousand words about Void Stranger's bad ending before i explode

i recently started playing system erasure's sokoban masterpiece, void stranger, again after playing it a little on launch before getting distracted. previously, they made zeroranger, one of my favorite games ever, to the point where i got a tattoo.

i reached the bad ending in void stranger 2 days ago, and to say that i have been Affected is putting it lightly. the whole thing is very obviously incredible, but there is one aspect of it that i can't stop thinking about in particular: the song that's used, and how it ties into the themes of the game and the actual gameplay in this ending. so i want to break it down a bit and put down into words what i've been thinking about.

please keep in mind that i haven't finished the game yet, so please don't mention anything that may or may not happen beyond this ending so i don't get spoiled, thank you!

let's talk about void stranger's bad ending below the cut, as this contains heavy spoilers. i will assume that you have played this game before, so i won't go too deep into previous events of the game unless they're particularly relevant. i will also be mentioning some future events, particularly events during and leading up to the other ending, so i would not advise reading if you haven't gone past this sequence, or if you plan to play this game, which you should. please. i'm begging you

when you reach floor b225 while voided, having given up your humanity after death in order to become immortal and live forever, the following sequence plays out very differently than if you'd reached there otherwise by keeping yourself alive. the song that plays during this sequence, Voided, has left a considerable impact on me, and i really, really want to talk about how it did this and why, and maybe how it also has had such an impact on you.

i'd like to examine three different aspects of the song and how it's used: the composition/instrumentation/structure of the song, the lyrics, and how these both tie into what's actually happening on the screen, as there's a lot to talk about in each aspect.

The Composition

the first thing i noticed when i started really thinking about voided: it's in a 3/4 time signature. this is the same signature used in waltzes; the type of song that lily and lady gray dance to earlier in one of the memory sequences. from the very first moment, this song is intrinsically about gray's motherly feelings for lily, albeit in a very subtle manner. voided doesn't feel like a song that's in 3/4 to me, which is part of what made this hit me so hard. subtly and quietly, the song accompanying gray's descent is about lily.

the next aspect that is far more obvious about the song is the fact that it has vocals. this is a totally new element for void stranger, with no songs previously having vocals(i believe). initially, the song presents itself without them, feeling like a very normal, if rather somber, area theme, revealing its vocals around the time you've completed a couple of floors. with the introduction of vocals, voided lets you know that this is clearly a point where something big has changed, and very quickly it becomes apparent that it isn't good.

to begin with, voided begins very simply with a lot of clarity. a bare, quiet droning synth note that slowly gets a little louder, with it cutting out to give way to void stranger's signature basic sine wave providing some blips and bloops. shortly after, the vocals begin accompanied with some occasional bass notes. gray is still focused and determined without much else on her mind, all she's thinking about is lily and reaching her, communicated by the sparseness of the instruments. even in the first chorus, the chord progression is just some simple left hand piano chords. at this point, there is a slight hint that something is going wrong, as some of the notes are chosen very carefully to add tension, which slowly ramps as the song progresses.

at the end of the first chorus, a very tense, unnerving ascending synth note accompanies a break of silence with just echoing delay, which gives way to the song's first percussion, a single kick drum along with heavy bass notes - the song is becoming heavier and darker. when the second verse begins, the piano's left hand becomes slightly more complex, with soft strings in the background providing a sense of melancholy. the kick drum grounds us even as things become tenser and heavier.

the chords used at this point are a fairly simple minor progression, which is a large part of what adds that tension. the 6-7-5-1 used in the first half of the chorus is very, very determined, with the following 4-5-6-7 ascending progression that doesn't resolve itself to the root note until after the brief silence capitalizing on that determination while providing some more tension. the second half of the second verse("in this state of oblivion..."), there's a similar progression, a 1-6-4-6-7, which gives a similar state of tension and determination. however, it does something a little different here. one bar after the 7th chord, right after the vocals on "my walls stay strong" fade out, it ascends by one semitone to a note that isn't in the natural minor scale, one semitone below the root note(note: i am not knowledgeable enough about keys to know if this is in an uncommon minor key, so i'm working under the assumption that this song is in D# minor). this isn't extremely uncommon, especially in the songs in system erasure's games, but it is a move that adds a huge amount of tension to the song, aided by the chord change happening after one bar rather than two as in the rest of the verse. this is further amplified by the song not resolving to the root note as the second chorus begins, going back to the 6-7-5-1.

in the second chorus, a new percussion element is added; a set of sleigh bells. outside of christmas songs, i find these add a very cold, lonely feeling to songs, especially songs like this that are slow, sparse and in a minor key. final fantasy x's "out of the frying pan" is a great example of this. they're also placed exactly halfway between kick beats, subtly increasing the pace of the song along with the left hand piano increasing in complexity in terms of rhythm and melody.

as the breakdown begins, all elements besides the piano fall away briefly, providing a brief moment of quiet and clarity, before the other elements come back gradually. the droning synth in the backround bends up and down, a very uncomfortable sound, as the vocals come back, reusing clips from earlier but with heavy delay and reverb, giving them an otherworldly sense, as though she is calling out from somewhere far away, somewhere expansive yet empty. they're processed enough that you can just about tell which lyrics they are, but the wailing fades in and out and blends into itself. gray is becoming more desperate, losing her clearness of mind as she goes on and on without end. in terms of chord progression, the breakdown starts at the root note and just descends down the scale, repeating that over and over - a literal descent for gray, mental and physical. in the last 4 measures of the first part of the breakdown, there is again a double time chord change - until this point, the chords have changed every bar, but on the last bar of every measure, the chord changes twice, once at the start of the bar and again halfway through. for the first of these, it remains in the scale, but on the last three measures, the final chord change is a single semitone down, mimicking the technique in the second verse, but descending rather than ascending. things are becoming even more hopeless as she descends.

going into the second half of the breakdown, there is another, larger break of quiet, permeated only by the echoing delay of the synth and distorted vocals, with a piercing ascending drone cutting through. then, every instrument comes back at once. contrasting with the calm but distressed silences earlier in the song, it is a wall of sound, abundantly chaotic, and it makes clear how bad things have become. by briefly pulling back and fully reintroducing everything at once, it juxtaposes gray's previous calm and focus with her internal chaos and panic as everything comes back all together.

at this point, the chord progression changes to a purely chromatic descending progression, that is, a progression that descends by one semitone every change(D#, D, C#, C...). it also has the same usage of a chord change halfway between bars at the end of each measure. this progression repeats over and over, almost bludgeoning you with its weight. the percussion also becomes more complex again; the kick pattern intensifies, including triplets for a somewhat offbalance feeling, as thought you're being dragged along by the hand, along with a few different types of cymbals. the contrast between the different types of harsh cymbals add a lot to the chaotic feeling.

going back to the chord progression, the chromatic bass notes and left hand of the piano contrast heavily with the melody, which stays purely in key. notably this is a leitmotif that plays at several points in the game(i'm not quite sure where, but it is definitely one that's been heard a lot at this point). while the chords clash extremely harshly with this, the melody feels like it's barely holding onto what gray once was. both are repeated over and over, the remainder of gray's determination and lucidity fighting with the chaos and her urge to give up.

after several repeats of this, the progression and melody stays the same, but the vocals from the chorus are reintroduced, albeit with more reverb and delay(though not quite as much as the barely coherent vocals from earlier). she cries out from that far away void, literally begging herself to hold on over and over as she descends repeatedly with the chords, out of key, dissonant and chaotic.

as we reach the last line of the chorus, the progression changes to a 6-7-6-7, regaining a little bit of that determination. she cries "my loss is mine" in a new way, a more mournful, forlorn way, almost through gritted teeth with a wavering voice. with the determined, but still chaotic and desperate chords and the declaration of ownership of loss, she is determined to hold onto it as everything falls apart within her. in the very last bar before the lines about her grievance and sadness repeat for the last time, there is again another chord change halfway through, another ascending chromatic note that ascends one more semitone at the start of the next measure, resolving itself before going back to the descending chromatic progression, which plays one more time. they are accompanied by dramatic string chords which cut through now. for the final measure, we get a 6-7 chord progression, one last little bit of determination, before everything except the vocals abruptly cuts out. "my loss", she wails, painful vocals layered on top of each other, transition to a much gentler, painful exhalation of "is mine". it's sang with only one voice. with the distress and chaos cutting out, almost like she has snapped, the very last thing that gray is left with in the silence is her loss of lily, her loss of her life, her loss of self. but, it is hers, and that's all she has left to hold onto.

wow! that's 1592 words about the composition alone! my title is totally fucking wrong now! let's talk about the lyrics and vocals and how they relate to the composition.

The Lyrics and Vocals

i don't think i have a huge amount to say about the lyrics, but i also thought i didn't have that much to say about the composition. let's get started.

"There's a safety locker, inside of me, out of your reach, and I hold the key."

gray has compartmentalised her suffering, and her life before becoming the lady in waiting. so much of what goes on inside her she doesn't let lily see at all. i think this also alludes to the suffering she is currently going through in the void. she has packed it away, keeping it from lily and herself.

"It's sealed with layers and layers of irony, what's within, I refuse to see."

my interpretation of the irony here is the fact that lily has traded her soul to protect gray, and in the process of getting here, gray has died and traded her soul to become voided so she could reach lily again. her protectee has become her protecter, but she's recklessly tossed the protection aside to try and reclaim her position as lily's guardian. the other angle here is that by becoming voided to try and get to the bottom of the void to rescue lily, she ironically cannot reach her, no matter how hard she tries. she literally refuses to see this fact, her suffering packed away inside her safety locker, because acknowledging this would make it all meaningless. yet another angle is the irony that she cannot save lily and her child both, she must make a choice, and ends up saving the child rather than the person she went there for.

"I hold on, I hold on, I hold on, 'cause that's the only thing, the one thing that I can control."

fairly self explanatory - gray has lost it all in her quest. without lily, without being able to protect her, and having failed to protect her, she's lost everything. all she has left now is her refusal to give up, and the pain that comes with all of this.

"My grievance is mine, my sadness is mine, my loss is mine."

grief, sadness, loss. these are the things she has left, the last things guiding her to give her determination to go on, and they're all painful, terrible things, but they are hers, the last thing she has agency over, the last thing the void hasn't taken.

notably, at this point i think there is a sense of deep and desperate denial in these lyrics, especially in the way it's sung. the chorus of the vocals are almost a wail, a literal repeated declaration that she's holding on because that's the only thing she can do now. she denies that the void has taken everything from her, denies her failure, denies that she must give up as she pushes forward endlessly through this bizarre and ever changing labyrinth.

"One toss and I'll forever be blind, toss the key, oh please be kind."

she begs to let go of that compartmentalised suffering and grief. she wants to let go of her failure, begging herself to forget it so that she can "forever be blind" to her inability to protect lily and the impossibility of her task ahead.

"In this state of oblivion, my silence goes on, My bearings stay stored, my walls stay strong."

out of all the lyrics in voided, this sticks out the most to me. gray professes that she is strong, silent, protected internally, her "bearings stay stored" so she knows where she needs to go and isn't lost. but how can that be true with the way she repeatedly professes she's holding onto because it's all she can control? how can she still be strong when all she has left is grief and sadness and loss? you may take it as truthful and her just being that strong, but to me, it reads as a denial of the hurt she feels. she feels she has to ignore it in order to go on, but ironically it is also the one thing keeping her going.

as the music gets heavier and tenser, so does the singing. the vocalist, eevamari, wails slightly more desperately and painfully as we progress. her voice cracks ever so slightly on "bearings", letting the underlying desperation and the lie of her unwavering resolve shine through just a tiny bit. but it's enough for us to know.

the chorus repeats, and the cries of holding on start to feel heartbreaking when combined with the strings, the lonely and cold sleigh bells, the sad and determined piano. she holds the final "mine" for a significantly longer time as the song gets quieter, as though not wanting to let go, clinging on as hard as she can to her loss in this period of relative calm. perhaps she feels that if she lets go of it, she won't be able to bear grasping it again.

as stated earlier, the vocals in the breakdown are repeated clips from earlier, but jumbled, distorted and in a random order. they get more processed with delay, reverb and a filter in the second half of the breakdown, as gray loses herself more but seems to want to hold onto those declarations of strength and agency of her pain to keep her moving forward.

in the last section of vocals, the normal vocals are overlayed with some of those clips, giving a very otherworldly effect to the voice. gray isn't fully human anymore, with the implication to me of her brand earlier that she's become part of the void, and the effects on the voice sell that to us. as well, against the descending chromatic progression, as the song reaches its crescendo of dissonance and chaos, she yells over and over that she holds on again, cries out that her pain is hers. she holds onto all of this in the face of everything falling apart in the worst possible way, internally and externally.

right before the last repeat, eevamari again proclaims "my loss is mine", with what seem to be clips of "my grievance is mine" and "my sadness is mine" vaguely overlaying it. her pain has blended together into one, and is all she has left now.

that's about all i had to say about the vocals. it's a truly stellar performance, full of anguish and desperation and quiet determination that's slowly lost despite her desperate attempts to keep it.

so, this is obviously a fantastically composed song with great regard to the themes of the game. but why has it left such an impact on me that i've spent two and a half hours writing this insane post about a relatively short part of void stranger? let's talk about the most striking part of this sequence, what ties it all together; how it synchronises with the gameplay.

The Gameplay, or how my life has been ruined and I can't stop thinking about this

floor b225 is a brand room - the intermittent rooms with murals that you initially can't decipher. as you examine the brand, the game tells you:

[It is your brand]

ominous. something isn't right. we later learn that the brands belong to each void lord, so the implication is that gray has become one too when she became voided. we don't know this at the time, but something is obviously very off about this immediately. when we progress past b225, the ending sequence begins and voided starts to play. floor b226, where a void lord statue would normally be, contains nothing, and notably there is no void lord encountered on this path, adding to the unease.

on b227, we're given one of the chests that usually contain a locust idol without having to do a puzzle. rare, but not unprecedented. however, this chest is empty. to the best of my memory, the only time this happens earlier in the game is the segment with the thief, and there is no thief encountered here, or any npcs at all in this entire segment for that matter. another anomaly. there are a few accessible chests in this segment, but there's nothing in any of them. the very first chest has a note inside from bee saying that she left the recipient's favorite snack inside. maybe the void gods don't venture to this part, especially since it doesn't lead to the end of the void, and this layer belongs to lady gray now.

the pacing of the song is such that the vocals are likely to begin on b228. this floor is still fairly normal, but something notable happens when the vocals begin: the hud changes to display the lyrics. the hud is a white bar at the bottom of the screen that displays some important information, but all of that is removed with the song's lyrics imposed on the hud bar line by line. this is a huge departure from normality for the game, and our first big clue that Something is happening. when i realised what was happening at this point, i gasped because it was just so unexpected, with no indication there will be vocals until eevamari begins singing. zeroranger contained no vocals at all, so it was doubly unexpected for me.

sometime between the second half of the verse and the chorus, the sound effects disappear completely(i'm unsure whether they gradually fade or just stop suddenly). the music has totally overtaken the focus of the game and demands your attention both aurally and visually, along with the strange gameplay differences that are about to get worse. as the sound effects disappear, gray begs herself to hold on, hold on, hold on, as things begin to change and fade from what she's come to know and expect.

i'm not sure how many floors you can progress here before the game does its thing. at the end of the first chorus, timed with the hit of silence at the end of the ascending synth note, the screen cuts to black and we get a leitmotif played on the sine wave and piano, a somber and lonely moment in the dark. right after this, the first percussion appears with the singular kick drum note, and it becomes quickly apparent that something is very, very wrong.

this puzzle is impossible.

you cannot solve this puzzle. gray has made a significant jump offscreen to floor b288, implying a large degree of time passing from her point of view, and is now faced with an impossible puzzle. the mimic in the room to the right is standing on the stair tile, with the switch to unlock it in the room gray is in. you cannot get to the stairs, no matter how hard you try. this is timed with the music growing more grave, more tense, and seeing this impossible puzzle in tandem with that lends it this air of desperation and shock as the reality of gray's situation begins to make itself apparent. after a little bit, everything but the synth and piano cut out again, there is another black screen, and when it comes back, somehow gray has made progress.

offscreen, gray has progressed to floor b451, a detail you could easily miss in the midst of everything else going on, which is quite frankly overwhelming. a jump of 163 floors. for comparison, getting to floor b225 took me about 6 hours or so. somehow, she progressed through the impossible puzzle above. for reasons that you probably understand if you've done this ending, i don't think we can trust that the puzzle is truly impossible, but to our eyes, it is.

this puzzle is also impossible. the one tile wide hallway means you will only be able to push the rock onto the stairs and never reach them. after a moment, another cut to black.

something strange happens again. it's the same floor, but the rock has been replaced with an enemy. in truth, these "rocks" are eggs. tail, the first resident of the void we meet and a former void lord, tells us they're eggs that fall from above, but to our eyes, they are rocks, and it's reasonable to assume such. gray has spent such an indeterminably long amount of time here that the eggs has hatched. in the previous cut, she progressed 163 floors. how long did she spend here? there's another black screen after a second.

when the game comes back, gray has progressed to b???, a floor that has the exact same layout as the previous one we saw but with a different enemy. gray has either ventured so deep that there's no longer any point in numbering them, or she's forgotten how many floors she's passed. additionally, every impossible puzzle we've seen so far has one of the black statues above them. this adds an extra layer of impossibility to them, as we find out at the end of this sequence that entering stairs in front of one of these statues will reset our progress to the very beginning of the game, and only a simple memory will remain. i'm choosing to interpret this as us no longer being able to trust what we see, as gray's mind begins to fracture and she sees puzzles that appear to be impossible. she is also seeing those black statues above the stairs, a subtle cry for redemption, to start over and do things right. as the vocals come back here, there is no cut to black, but we do cut to another impossible puzzle. the lyrics are back on the hud. we linger for a little bit, and then cut to another puzzle that is even more impossible than the ones before it.

the stairs are gone.

the stairs are just gone. more than not being able to reach them, there is just no way to progress at all, even if we could get to them.

at the line "my walls stay strong", we get to this impossible puzzle. gray is quite literally surrounded by walls. while she professes her walls stay strong despite growing more and more desperate, she is trapped in this tiny corridor with two leeches that will reach her no matter what - to me, a clear metaphor that her silent, strong walls have already been breached by suffering. this is also where we get the first chromatic ascending chord to the second chorus, introducing more dissonance and desperation in the music, as we return to "i hold on, i hold on, i hold on".

we get to another impossible puzzle, but the stairs are back, albeit with the black reset statue above the stairs. notably, as gray professes that holding on is the one thing she can control, the player is quite literally having control slowly taken from them as we're faced with puzzles that we can't complete, and we're rapidly being torn from them and forced into new situations that we can't possibly escape. however, it gets worse.

as the instruments except the piano fall away, we cut to this puzzle(which is, unbelievably, impossible). the hud is back as gray has a quiet moment of clarity amidst her desperation. something is wrong, however. in the top right, there's a piece of the wall that's just missing, with a graphic of the side of a tile floating in the void in its place. more evidence of gray's failing mind and unreliability.

the next puzzle we cut to appears to be possible, but isn't, due to the pit to the left of the stairs actually being a wall. there's a statue above the stairs anyway. quite a few more of the tiles are illogical now. this is where the chromatic descending progression comes in, the music becoming more harsh and dissonant as things become stranger and bizarre.

we cut through a couple more illogical puzzles as the distorted vocals come in, and more and more tiles make no sense. the chromatic descending chords become more dissonant with more offkey notes as gray's desperation and despair grow, and she loses herself more in the internal turmoil.

as we hit the drop in the breakdown where everything pulls away before coming back all together, this is the puzzle that faces us. i think this one is possible, but you have about 8 seconds to see this, process all the information, and find the solution. even then, there's a statue above the stairs - even if you reached it, you couldn't progress. to me, this is a hint that gray's mind isn't totally gone yet, she's fighting to stay conscious in the monotony of these never ending puzzles that she can't properly percieve, but still begs for atonement.

the next three puzzles we see are increasingly bizarre and alien, with odd geometry, enemy arrangements, chests, annd then several sets of stairs, something never seen before. as the music grows more desperate and chaotic, so too do the puzzles.

as the vocals come back and gray calls out that she holds on, we cut to this puzzle where she stands over a pit, with no ground beneath her. surrounded by the denizens of the void who seem to watch, if she takes a single step in any direction, she'll fall. quite literally, all she can do in the darkness, the total pitch black of this ever shifting dungeon that is now beyond any form of reason to her, is hold on.

the next puzzle is a variant of the same concept. stuck on a singular tile along with other creatures in the void and statues. they are all in the same situation. there is no escape, only holding on.

as we cut to the next puzzle at "my grievance is mine", the tiles are now placed totally randomly. on top of this, control is wrested away from the player. we can no longer input anything, and this comes directly after the line "cause that's the only thing, the one thing that i can control". quite literally all that gray and the player can do now is hold on as void stranger drags us quickly by the hand through all of these random, illogical puzzles that are now changing twice every bar. the final part about this section is that gray is flashing from invincibility, implying she is taking damage constantly, as she loses everything, unable to hold on.

as eevamari wails "my loss is mine" for the penultimate time, the puzzles become smaller and smaller, this continuing over and over as the puzzles rapidly change, until gray eventually has only a single tile to stand on. notably, at the end of this, we go straight back into "my grievance is mine", skipping "i hold on". gray cannot even hold on anymore, she has lost all control. all she has left is grief, sadness, loss.

"my loss", eevamari cries as there are no tiles on screen, nothing in this black void, even lady gray, as the only thing we can see is the hud with the lyrics superimposed over it. "is mine", she breathes out as even that disappears, the music falling away, leaving us with just her voice, and then silence in blackness. all that remains is loss, literal loss of the way forward, of any sense of ending, of resolution.

once this segment ends, we rest in silence momentarily before reaching a floor with a birch tree. but unlike every other birch tree, should we rest under it, gray is unable to dream. we know from the end of the void ending that she still has more to recall and dream about, so it's reasonable to surmise that she's lost her ability to even dream by now, or perhaps has forgotten everything before coming to the void. in any case, it has all been for nothing. as noted by the atonement statue ahead that you're forced to reset with, she's lost something important, her promise. she can't even remember lily, her reason for coming here.

all she has left is her loss, but she doesn't remember what she has lost. but the loss is hers nonetheless.

jesus christ i wrote over five thousand words when i thought it would be one thousand

i didn't think i would write for four hours about this. i have been thinking about voided for two and a half full days at this point, and i think it shows. this five minute long sequence has affected me so deeply, because i feel it's a complete masterpiece in synthesis of music and gameplay and visuals, and how music can be used to make us feel things, and compliment other art to make them more than the sum of their parts. i really hope that it helped you understand why you're fucked up and insane about void stranger too.

thanks for reading! show your friends who played void stranger!

thanks to system erasure for making this incredible game that's ruined my life without even having finished it, and to eevamari for her astounding vocals that went a huge way to making this moment as impactful as it was.

[lakesbian]

i was pondering some Thoughts about how people sometimes refer to worm as a "found family" story (& how this is sometimes mocked), how in-text alec explicitly says that the undersiders are the closest thing rachel has to family, how taylor tells them "you're my family, in a way," how the found family trope works in general, etc.

access to financial support, housing, medical care, And So On, is primarily attached to the institution of the family. the material necessities provided by membership to a nuclear family are why it's so common for people to reconcile with or keep in touch with family members they wouldn't if there was no material value attached to that relationship. the cultural prioritization of the nuclear family is how we get people offering "well, they're family" as an explanation for remaining associated with someone they wouldn't otherwise care about (or would even actively be trying to escape from, but this post is more about just Social Incompatibility in families than the outright abuse that the structure enables), with the expectation that the explanation is considered to make inherent sense.

aside from the found family trope demonstrating a lack of imagination about non-familial ways important relationships can take shape/demonstrating an inability to see relationships as truly important or deep unless they mimic the nuclear family, i think a lot of what appeals about the found family trope is a character dynamic that provides the same support, security, and undying love/depth of connection that the idealized nuclear family is purported to--and that does so as an escape from and superior replacement to the original blood family.

and what's interesting about the undersiders is that they're extremely not that. they're terrible at communicating. many of them don't get on with each other very well. they're oftentimes even actively shitty to each other: everyone but taylor towards rachel, brian towards alec (and aisha, but she's actually related to him), taylor towards alec and aisha. but there's still repeated in-text acknowledgement of a supposed familial dynamic between them! i think they're a "found family" in the sense that their group imitates the general role of the nuclear family--a small unit of people who (are supposed to) function as each other's fundamental supports in a world that, at large, does not care about any individual member, and who (are supposed to) do so regardless of any internal conflicts or lack of compatibility.

like, this is not a particularly articulate analysis of the nuclear family Whatsoever, but i don't think it's inaccurate to say that the compelling thing about the undersiders is that they are a "found family," but specifically in the sense that a lot of their dysfunctions are reminiscent of those found in typical, real-life familial bonds--people who wouldn't necessarily be getting along otherwise, or are even actively sorta bad for each other, forming very deep & intimate connections simply because they're materially forced to spend a lot of time together and have each others backs when there's no guarantee anyone else will.

for example: alec and aisha call taylor + brian 'team mom and dad' in a mocking manner not to indicate that they're kind/caring, but to indicate that they're being condescending micro-managing assholes...who aisha and alec are going to unquestionably listen to anyway, because they're a team, right? and you have to listen to your team leaders. i am onto an Observation here i think. deeply compelled by the idea of a ""found family"" where all of the similarities to an actual nuclear family are, despite being what drives the intimacy, also blatantly fucking dysfunctional

[gddancefloor]

kasane teto headcanons since i have a very specific portrayal of her

for context, chimera (in the way im going for here) are a type of japanese demons that take a form similar to humans (with the exception of wings and a tail) and are known for their mischeviousness. teto is part chimera from her father's side.

teto x miku is used in here, and ted and teto are siblings, ted being the older one by 6 years.

Text HCs below the cut [warning, long!]:

UTAU Teto (15):

Sapphic. Likes girls. A lot.

She was a kid with an attitude and never smiled in photos if she was asked to, only if she wanted to. She also usually can’t look straight into a camera and looks away.

Teto developed a crush on Miku when she quietly sang for her for the first time, and was completely mesmerized by her voice. Miku was her inspiration to pursue singing.

Speaks English very, very badly and has an extremely strong Japanese accent. She usually has Miku translate things for her, but not even Miku is that great either.

Has a bit of a “chubby”/round face. Didn’t grow out of her baby-face.

Her hair naturally curled into a drill-like shape once she put her hair into ponytails, and now she chooses to exaggerate their shape by using a curling iron.

Despite not liking stereotypical pop music, she secretly likes girls who listen to it as she is into girly girls. (ahem, miku)

She doesn’t like to have her hair down, she’s embarrassed by how she looks with it and was forced by her parents to wear it down as a kid. 

Cusses a lot when comfortable to. She is often horrible with manners and being “proper”, unless in a traditional Japanese setting. Otherwise, she gives zero fucks.

She has one of the most impressive singing voices and very beautiful control over her pitch, but doesn't like to sing in front of people due to stage fright.

Avoids eye contact. A LOT.

Her birth certificate lists “Chimera” as a sex by mistake from the issuer, and she is actually female. She sometimes identifies with it to mess with people and make them confused/frustrated.

As full chimeras age slower, Teto is often called a “31 year-old” despite being alive only 15 years. This is not true, as she ages normally due to being half human, and mistaking her to be older makes her angry. Unfortunately, she’s often called 31, or a “held back student” by her classmates.

She camouflages her tail as a belt, but it is very much so a real tail. She hates it being touched. In general, Teto hides any of her chimera features as much as possible in fear of being seen as a monster. If comfortable, or angry enough, they tend to come out on accident.

Miku is the only outsider that has ever seen Teto's chimera form because she trusts her. (Miku thought her wings were the coolest thing ever!)

She believes she's extremely unlucky, considering she was born on April Fool's Day, and has had nothing really go right in her life, especially in regards to bullying as a kid.

Definitely has sharp teeth. Gotta tear into that bread somehow!

Used to pull on Ted's hair and scream at him when she was a kid. To this day, she doesn't know why. He has nicknamed her "demon" for a while because of this.

Ted is quite overprotective of Teto and encouraged her to try her best to sing, even if Teto's singing was... quite bad as a kid.

She and Miku split up when they were kids due to a major argument and didn't speak again until Teto saw Miku on social media performing on stage. This is what drove Teto to become an "Online Idol" on niconico to regain the attention of her and hopefully get back in contact with her. It was just Teto made it very obvious she was being a Miku ripoff (hence the outfit).

Family doesn't like singers. They encourage every member of the Kasane family to pursue an instrumentalist career, but they never made it big, and so they had to resort to the "shameful" career of making ramen. Teto is the only successful musician AND singer in the family.

Synthesizer V Teto (late 20s):

MUCH more mature. Rarely curses, and tries to stay mannerable and quiet. She also has better control of her chimera form.

Doesn't mean she won't be bratty or snooty at times. That's just Teto naturally.

Hair reddened with age as any older Teto iterations prior to SV had her with pink hair. It's a chimera trait to have red hair and red eyes.

Is the one that handles all of Miku's (30-ish, NT) events and concerts, and likes to make sure that she's not overworking herself.

Now underneath a professional talent agency, Teto left behind her "copping Miku's style" thing behind and now dresses in something more like her style. She likes the military-chic look a lot.

Her and Miku don't get much time to hang out anymore, but they still keep in contact despite their hectic music careers.

Her and Miku are a married couple. You know how celebrity marriages are, except this one has no drama and they aren't public about it.

Teto's English is much better now and she can hold a conversation. Her accent is still quite thick though.

Just an older, more mature version of UTAU Teto. (I'll make a seperate post for her because this is getting LONG.)

I'll probably edit this a lot — it was copy-pasted from a google doc. Bear with any mistakes!!