#saying that someone else IS a particular thing because of their experiences is not really helpful. and it doesnt make sense

[dufferpuffer]

(Note: idk the characters OP mentions or what they are from, I wanted to talk about peoples reaction to disability rep in general)

I think it's fantastic when non-disabled people talk positively about disabled characters, even if they do it a little clumsily (though not in the face of disabled people critiquing it... yeesh...) Just like with other marginalized groups. eg: we can be happy about having more PoC characters... even if we might not fully understand the nuances in their representation. We can be taught about that nuance by those who do understand - and that's how we learn to understand better. That's awesome.

The thing that's annoying, as OP describes, is that - especially for disability representation - existence seems to be the bar for entry. They see a prosthetic and go 'Wowee! Good enough :)'

Maybe existing can pass as 'good representation' for some things - like race, gender or sexual orientation (arguably - important: it depends on the particular media) But that doesn't really work for disability.

Depending on the setting and themes of a narrative, being a different race, gender or orientation doesn't alter how you can live. Having a disability, by definition, DOES alter how you live.

Example: Innocent little kids show, where a bunch of kids go on adventures together, doesn't need to display topics like racism, homophobia, transphobia etc. to be good representation. The kids can just exist the same as everyone else - just existing is enough.

But a disabled kid HAS to be disabled. Their life has to be shown as altered in unique ways - otherwise it risks being harmful. It doesn't need to be anything big, or sad, or the topic of an episode... Infact it's often better when it isn't.

+ Have a character wake their friend up early, knocking on her window - she says 'Wait! Let me get my leg on!!' + They go swimming - and she takes her leg off to swim. + It gets really muddy, so she gets a piggy-back from a friend so she doesn't get her leg stuck. + Or it DOES get stuck and someone pulls it out for her. + She's training for a race and she switches her leg to a running one. + Maybe she isn't in an episode - the other characters can't rely on her skills to solve an issue, because its Physical Therapy day.

You don't need to draw attention to it, she doesn't need to suffer - but she has to be different. She has to live with different worries. She can't just be the exact same as everyone else, because she isn't like everyone else. That's what being disabled means.

If she just does everything everyone else does, with no thought put into the fact she has a fake leg other than 'one of her legs is blue'... you are teaching that disabled people don't live differently. But we DO. We HAVE to. A little kid seeing a character never put any thought into the things they need to worry about doesn't feel GOOD. It feels WORSE.

People of minority racial groups, and people of differing identities, dream of a world where that doesn't matter, they can be the same. Disabled people don't get that dream. Having a leg re-grown...? God, even thinking about the physical therapy, training to walk again... It would just be nice if there was more understanding, more facilities and support, that some of us need to live different lives.

...I am not an amputee. My digestive organs are all messed up - and I have PTSD. That is a very different experience to being an amputee. But I can talk about what I think is good or bad representation, even if it might be clumsy sometimes, because: I understand that good disability representation is in how the character is affected by their disability, not by just existing.

And that's what I would want to share with any non-disabled person who feels excitement seeing a disabled character: think about how it affects their life. Think about the choices they make because of it.

Toph from Avatar isn't 'cool disability representation' because her blindness is accurate or realistic. It isn't. It's fantasy blindness. It's cool because she has to live differently. She uses her bending to super-power 'see' - but not in water, or sand, or for flying things... There is no 'fix' that gives her sight back. Only tools to help. ''How does blindness affect how she can live'' has been considered.

So... you have a character 'you didn't even notice had a prosthetic'. Is there no way in which she is shown to act or think differently because of it...? That's not particularly good representation. There can still be cool parts of it that are worthwhile representation, like an interesting history, or design, or function... ...but she isn't disabled unless she is disabled. Yknow...?

I really wish non-disabled folks would stop commenting on weather or not something is good disability rep, especially when people with those disabilities are critiquing the specific things these folks are bringing up as examples of why the character is so good.

I swear, if I hear one more person say "I didn't even realise Neve was an amputee, that's such good representation!" I'm going to scream lol.

Also just to clarify, I don't think Neve is bad, my feelings on her from a disability representation stance are more complicated, but her disability having such a small impact on her that a shocking number of players said they didnt even notice it until she tells you how she lost her leg is NOT what makes her good. "You cant even tell she's disabled" is not a flex. We've talked about this. Twice.

Same goes for the inquisitor and Hezencost but they're pretty minor characters so I'm seeing less of it there.

[my-my-my]

I'm aware you are currently working on the Kinktober, but whenever you've time, could you tell us how you think things would have been if Aizen were the Captain and Shinji the Lieutenant?

Thank you for sending me this ask, I've been mulling over it for a few weeks now! I wanted to answer this to give myself a bit of a break from kinktober. It was a really good thought exercise.

I'm not 100% confident in this response, and it's honestly a lot of rambling, but nonetheless, here are my thoughts:

Imo, their relationship would be dependent on what stage Aizen is at with the hogyoku/Hueco Mundo/his research. Before the start of the story, he recruited a low-seated Kaname into his larger machinations/ideology, in TBTP, Aizen was deliberate in choosing a "loyal" aide in the form of Gin to fulfill the more gruesome parts of his plans. But in his captaincy he chose Hinamori for her admiration. The timing of when Captain Aizen and Lieutenant Shinji occur will greatly affect their dynamic.

Regardless, I believe Shinji will still be completely distrustful of Aizen no matter what "era" he meets Aizen at. He can "sense" something is off about him, even if it is the "kind and gentle" Captain Aizen persona that is being displayed to everyone in the Gotei 13 for centuries.

I think it's important that Gin is the third seat in this scenario as well. Unlike what Aizen and Gin did in TBTP, where Gin killed the pre-existing 3rd seat, Aizen will "allow" Shinji to live, because he knows Shinji is distrustful of him. Again, he will use that to his advantage.

This may be a situation where in private, Aizen and Shinji are antagonistic towards each other, whether that be Shinji trying to trip Aizen up, or Aizen being colder and crueler with his words. It would definitely be a game of tug-of-war between them.

This is getting longer so I'll put everything else behind the read more.

That being said, the reversal of power is something that needs to be talked about. Aizen knew that at some point, Gin would betray him, he just didn't know when and how. I think by keeping Shinji away from his own plans, gives Aizen a bit of leeway in how he approaches Shinji as a Lieutenant. It might amuse him that his Lieutenant is so wary of him, but I wonder if this might be how the "real" Aizen comes out, and it's... humanizing to Shinji? Like the sweet, calm, gentle Aizen is an act, Shinji sees through it, and he gets to experience/witness the actual Captain Aizen. And in a way, he likes that better.

I still think Aizen will use Shinji/betray him somehow. Not in a sense of how he used Momo, but it still shakes Shinji to his core. There was a fundamental reason Shinji couldn't trust Aizen, and now he is seeing why.

Aizen's relationships to particular characters are so fascinating to me, and Shinji is one of them. It is "bonded" by a mutual distrust of one another, and from Aizen, a sense of "disappointment." Going by this, if Shinji fell into one of Aizen's traps, it would disappoint Aizen - his Lieutenant couldn't understand/see eye-to-eye to him. I want to say by the time he meets Hinamori, he is done away with trying to meet someone at his level/trying to understand him. It is why he does away with Momo like that, yet also why I don't think Aizen would do Shinji in a similar fashion.

Story-wise, it would certainly add another level of cruelty once Aizen forces hollowfication on Shinji. Again because of the power dynamic now at play. It was certainly cruel of Aizen to do that as a Lieutenant, but if he were the captain? I think it's crueller. I can't find the words as to why I find it that way (lol), but I think its because fundamentally, while Captain and Lieutenant relationships are diverse and complex, there's an underlying bond of "do no harm." It's why when Aizen stabbed Momo, it was shocking - a Captain wasn't supposed to do that to their Lieutenant. Yes Renji and Byakuya fought, but that was of Renji's choice and will. Momo trusted Aizen, her superior, and yet here we are. I think a similar feeling would arise if Captain Aizen had hollowfied a Lieutenant Shinji.

I don't want to say story-wise, things would have played out the same. Shinji's experience and position as a captain is why he connected with Urahara to some degree. I'm not sure if that would play a part if he were a Lieutenant. It would still drive Urahara to action (because Hiyori would be involved), but Urahara's feelings towards his squad and captaincy in general, might not be as fully-realized.

Ok I'm going to cap it here because I'll just go in a circle LOL. Thanks again for sending this ask! It was nice food for thought.

[lilacerull0]

i feel like reading/watching mbf immediately means knowing who i am as a person and... i cannot allow this

[epicdogymoment]

begging people to understand that labels and categories are not inherently meaningful without context. and that whether or not any label is actually useful changes from context to context (including from person to person). and that trying to pin something or someone down as BEING a particular label (rather than something being labelled as a certain thing) is meaningless and unhelpful

[backofthebookshelf]

Another thing I find fascinating about Beholding specifically is - the pursuit of knowledge is not an inherently unhealthy or exploitative way to manage your relationships with the world! It *can* be, sure - but where is the line? Where does "I need to know what that was so it never happens to me again" turn into "I need you to relive the worst thing that ever happened to you so I can feel safe"? Where does it cross the line? Is it when you ask someone else about their experience? When you encourage someone who's reluctant to talk? Obviously at some point Jon developed an unhealthy relationship with the statements, but was that when he started intentionally seeking out live statements? When he got weak and shaky without them? When he realized he knew which statements were real? When he joined the Magnus Institute because even though Mr Spider was the only supernatural encounter he'd had in his life he still couldn't let it go?

Slippery slope is a logical fallacy because it's often used to connect things that have no inherent connection, but when it's tiny steps towards something that you can't see coming that's just... normalization. The Overton window shifting. Normal human adjustment to difficult circumstances.

Jon absolutely chose a lot of the steps that put him on the path to S4 and Scrutiny (his low point, I think, although Jordan Kennedy's domain is fighting for that spot). He didn't choose them knowing where they would lead, but most of us don't; I don't think Jonah did either, to be honest, I think he just was less unhappy with the results. But what's so fascinating to me is, absent the foreknowledge of the plot and the awareness that it's a horror tragedy story, it's impossible to say where he absolutely should have turned back before it was too late. Hell, even once he's fully tied to Beholding, it's impossible to say when he's definitely, absolutely causing more harm than doing good by attempting to understand and stop what's happening.

So yes, he was manipulated, and he chose it, and he didn't know it was dangerous until he did, and he didn't realize how harmful it was until he did, and he could have stopped but at such a cost that very few people can really argue it was a reasonable thing to expect anyone to do, but he didn't. There's a line there, somewhere, but it's not a clear one and there's no clear way to avoid getting there either.

That's why I love tragedy, I think. Because it's actually really common to find yourself, through no particular ill will on your part or anyone else's, in a situation of your own making where the only choices you have are between bad and worse. And that doesn't make you a terrible person or absolve you of blame; it doesn't mean you shouldn't try to invent better choices or make sure the same thing doesn't happen again, but it doesn't mean it's possible to do anything that won't make you hate yourself a little. That, as Picard says, is not failure. It's life.

readings of the podcast which try to frame jon as having been tragically manipulated and forced through every decision by elias are of no interest to me. because it's not true, is it. when elias tells him in mag 92 "you always chose to see," he's being cruel, yes. victim blaming him, even. but to completely disregard it as an attempt at manipulation would be a mistake. much of the podcast is about exploiting people's trauma. as i've said before, jon's role as head archivist, back when it was still presented as a mundane office job to the audiences, and he hadn't developed any beholding powers yet, involved filing away statement givers' trauma without offering help of any kind. the institute subsists on this form of exploitation, in a literal sense obviously, because it's a temple to the eye. but even if you take that reveal away, it's also true in simply an administrative sense in season one. and jon used to ruthlessly dismiss every single statement giver with as much apathy as he could muster (while knowing that if a statement doesn't record digitally, then it's the truth), and note that faking skepticism was a form of coping mechanism for him, it was the choice between making statement givers feel small or making himself feel vulnerable—and is this not simply the bureaucratic version of what he does later as a supernatural avatar of the beholding, vampirically feeding on people's terror to stay alive or risk being consumed by the eye?

(Season 3) MAG 117 - "Testament" // (Season 4) MAG 142 - "Scrutiny"

of course, i'm not saying he bought it on himself, that he deserved to be put in an impossible situation later for being an arse in season one. jon too, has had his trauma exploited in the form of a guest for mr spider, an experience which eventually led him to the magnus institute where he would help fulfill the web's designs. so, in the grand scheme of things everyone was puppeteered by forces beyond their control, but would you excuse jonah for eveything he's ever done because of it? then why must jon be rendered completely non-agentic? yes, elias manipulated him, but he has never had to straight up coerce jon into anything. jon's just always done what's been expected of him. because they're alike. their shared desire for knowledge originates from fear. jon always chose to see because something had hurt him once and he needed answers, and we can assume jonah chose the beholding because it was the only entity which would expose him to information on all the other fears. knowledge is a means of survival for both of them, an inclination which later manifests literally as they become avatars who must subsist on terror. it all really comes down to letting yourself be exploited or exploiting someone else to escape that fate (you don't escape, not really, nobody does in the podcast), and jon did choose (with as much agency he could've possibly had in a story like this). the difference between them being that elias feels no remorse for his choice, but jon's character is defined by the enormous guilt he feels about the things he has done and what he must do to continue living, until he doesn't.

[explode-this]

.

[revolutionsingingintherainnn]

No Words *ೃ༄

Summary: max defends his girlfriend and gets into trouble

𖤓 mv x reader ⋆｡°✩

𖤓 fluff + slight humour (iykyk) ⋆｡°✩

masterlist ☾☼

y/n had been a fan of formula one since she was a child. every parental figure in her life had been a fan of the sport, so it was natural and she got into it too. thankfully, it also made her realise very quickly in life that she wanted to work in the field of motorsports. she wasn't sure yet, and she was still working her way to getting into the sport, but it was a sure, clear path for her.

after meeting max, and falling in love with him, everything had changed. her family approved of the two of them, obviously, and so had his, though she hadn't cared much about jos' opinion. y/n made it clear in the beginning that she wanted to work in motorsports and she wanted to earn her place. she refused to let max talk her up or anything, because he was the kind of guy who would do just that for his girlfriend. max agreed, and promised to keep their relationship private for as long as she wanted.

it had taken her a few years. she bounced from indycar to motorgp to nascar and eventually made her way to f1 as a journalist. she had gained far more experience than she would've gotten if she had only focused on formula one, and she was confident in her abilities to finally be formula one.

max and her had stayed strong throughout, even if they kept their relationship private. she had met and become friends with daniel, lando, carlos, and all of max's friends. they often played padel together as well. mix the competitive spirits that max and she possessed, it was always fun.

after a year of being in formula one as a journalist, max and y/n had decided that it was time to stop hiding. they skipped the soft launch part, and jumped directly into the hard launch phase that left a lot of fans shook.

unfortunately, it also got her a lot of hate. y/n went from being one of the best journalists in f1 to one of the most hated ones for the same reasons that she was loved. the fans adored her because she was a woman of colour making a name for herself in such a sport, and that her parents had sacrificed a lot for her and she was making them proud. now, she was hated because her success became max's story and how he put in good words for her and how she was only with him for the money.

it broke her heart, but max was someone who had received a lot of hate before in his life, so he taught her all the ways to ignore the comments and focus on what she did best. it helped a great deal, but it also made her determined to prove that her career had nothing to do with max.

it was getting better, slowly and over time. max and y/n promised to never lose their temper on the comments. a lot of interviewers and fans had also asked the other drivers on the grid to comment on their relationship, asking if it was ethical for a journalist and a driver to date. but the other drivers always responded with the same thing, always saying how they've known max and y/n for a long time, and their relationship was no one else's business.

unfortunately, after a particularly hard race, max finally lost his cool.

"well, max, it's safe to say that this particular race of yours wasn't the best that you've performed. what do you have to say about that?"

"uh, nothing, really. we just didn't have the pace, and with some mistakes on my side, i lost a lot of points. but, i'm sure we can cover it up next race." max replied.

"you don't have to worry about us writing a bad article about you. your girlfriend and we will only be writing praises, don't you worry. the only difference would be that we won't take your hard earned money like she does," the interviewer laughed, nudging y/n.

the cameras were all focused on them, there were fans nearby, and other drivers. everyone was watching. it was live tv. the entire world was watching. the thick crowd of an audience had their gaze fixed on y/n, and all she could do in that moment was hang her head and try not to cry.

that's the moment max lost his cool. y/n was standing right there, and the interviewer had disrespected her on a very public platform.

"actually, my girlfriend will always tell me what i need to hear, whether it's good or bad. y/n y/l/n, a well known journalist, who is also standing right there with you, will write exactly what happened on track, because that's the part that she reports on. she made her own career, so fuck you for dismissing all of it." max bursted, before he stormed off.

the interviewer was spluttering, not sure how to react, but completely outraged as he forced the fia to take actions on max's outburst. y/n slipped away silently, needing to go back to max.

later on, the fia decided to punish max for using "language during the fia sunday press conference". their decision: obligation to accomplish some work of public interest.

later, an interviewer asked him if he regretted his decision of defending his girlfriend and getting a punishment, max responded, “no.”

“so, what do you think of the punishment given to you? do you think it’s fair?”

“no words.”

.⋆｡⋆☂˚｡⋆｡˚☽˚｡⋆.

i hope you guys enjoyed this! i had a lot of fun writing this, mostly because i had no idea what my brain wanted me to write, but somehow i kept on typing. anyways, this is my prompt list, so y'all can select a number, give me a driver and i will write it as soon as possible! i also have a google form for a taglist if anyone's interested! you can sent in your requests here :)

[maximumzombiecreator]

I've seen a lot of posts recently where people say they can't find players to play non-5e TTRPGs with. As someone who moves countries every few years, I've had to rebuild my roster of local TTRPG players from scratch a number of times. Here's how I do it.

Caveats first: while I've done this in small cities, I have always done it in cities. If you're in, like, a rural environment, you might just not have enough interested people around. You can always do it online in that case. I'm not really going to cover finding players online, except to say you should probably look for communities for the specific system you want to play. Most of them are enthusiastically looking for new participants. Especially game masters.

Okay, first things first, you gotta find people. I generally find I get better results if the search is location first. That is, rather than using city-wide or regional Looking For Group type internet groups, I look for physical locations that host gaming groups. Local game stores, public libraries, gaming cafes/bars, etc.

Being location first helps avoid some common bad behaviours. Online LFG groups often have a few shitty people hanging around who can't find long term groups because they're shitty. They'll jump at the opportunity to join new groups where people don't know them, because everyone else knows better than to game with them. But location-based groups are better at filtering this. Someone who harasses people at an LGS can be banned from the store, but decentralized online groups struggle to handle these situations in my personal experience.

Being location first also solves the next problem, which is giving you a location to play. Eventually, when I have a long term group, I'll host games in my home. But there needs to be a level of trust before that feels safe, and we're looking for randoms, so for now we need a public gaming venue. If, for whatever reason, there aren't dedicated gaming spaces where you can do this, I've had the most success gaming in cafes or restaurants during off peak hours. I've run a bunch of games in restaurants from, like, 2pm-5pm on a Saturday, and as long as you're buying drinks and some snacks or something, and being polite and non-disruptive, it's typically not too hard to get permission.

Now, if that local group has enough interest in a non-5e system that I'm interested in running, I'll happily do that, and it's pretty free from there. Most people who are willing to play one other system will gladly try others if they find they like playing with you. But even in big cities, I feel it's pretty often the case that postings for local games of other systems don't wind up actually finding successful groups.

So, here is the bit where, unfortunately, finding people to play non-5e games with involves playing some 5e. Community groups are always looking for more GMs to run games, so I will set out to run a number of short 5e adventures, each with different groups. These are typically oneshots that I have the option of extending for another 1 or 2 sessions.

I always run adventures that I've written myself for these, because I want my particular GMing style to really come through. Looking for players is a two way street. I'm looking for people I like GMing for, but I'm also looking to make sure they know what they're getting. Especially if I'm going to ask them to play a system they've never tried, they should know that there's going to be something they enjoy. So, these short adventures are full of the types of silly but sincere NPCs I tend to run, the open-ended scenarios I prefer, the tropes I favour, etc. If someone isn't going to enjoy playing with me, I want them to know it from this adventure.

I structure the adventures to give me a lot of flexibility in terms of how long they run. They're nearly always mysteries, but with some active component to the mystery, so that if things drag or dawdle I can have the villain show up and force a final confrontation. They're also structured to have a natural "next thing." You find and defeat the villain, but there's an implied next villain you'll be going after. That way, if the group is working well and I want to continue, it's easy to present the option to the group. But if I'm not interested in continuing with the group, the next thing can just serve as an "and the adventures continue" implied epilogue, and the game still feels complete.

I don't like players just bringing their own character sheet to the table. Someone who brings a disruptive character can ruin a session without me getting much useful information out of it, other than that I don't want to play with that person. And if it ruins the experience for the other players, I'm often out the opportunity to game with those people, through neither of our faults. I've experimented with both asking players to submit their characters in advance or making them choose between a collection of premade characters. The former is a good check for whether people will put in a basic amount of effort and follow instructions, but it can dissuade people who are just looking to dip their toes into playing for the first time. The latter can turn off players who are into crunchy games and are excited about character building. As a result, I'll usually choose the approach based on what non-5e system I'm currently most excited about running. Do I want to get together a group for a rules-light game? Premade characters it is. Looking to run some PF2e? Please submit your character sheet in advance. Some locations also do more drop-in based games, in which case it's premades all day.

As I'm running the game, I'm observing the players. There's a simple vibe check, obviously. Do I like playing with this person? But I'm also looking at how they play. What are they here for, what's exciting them? Are they struggling with finding optimal turns in combat, or do they like mastering a system? Are they curious about the world, or do they glaze over when the spotlight isn't on them? Do they light up in dialogue scenes? Do they want to try crazy things outside of their on-sheet abilities? Remember, later, I'm going to try to persuade this person to try to play a game they've never played before. I need to know what specifically is going to excite them.

I have (always with permission) recorded sessions before to go over in making these choices, but honestly even just a few small reminder notes will help me unravel things later. If a session goes well, I'll ask at the end for people to give me their contact information if they'd be interested in playing again. Non-committal, at their comfort, and it doesn't single out people that I don't want to play with. I can always just not call them. Usually I find I'm interested in playing again with a little more than half of the players I meet this way. In my experience, it's fairly rare for a player to say they're not interested in playing again, TTRPGs rule and there's a DM shortage.

What I usually do is keep running these until I have enough people in mind to run something else, even if it isn't the system I'm most excited about. Probably it would be better to spend more time in this starter phase building up more connections, but after running like 4-5 5e adventures, I'm usually more than ready to run anything else, and if I have to shelve my Lancer ideas because I've mostly found crunch-averse players, I'm usually fine with that.

So, next comes the invites. Now, most players I meet this way will eventually be open to playing most games, but listen: you can put people well out of their comfort zone for their third TTRPG, but you gotta be real careful with their second. Most of the time, the game I'm inviting people to will be their first real exposure to a non-5e TTRPG. If they don't like it, they will run back to the safety of 5e and you will never get them out of it again. So I am very careful in picking the right system for the players I am inviting.

Whatever the new system I want to run is, I will set up a pilot session for it. I am very clear to players that I will teach them the system at the session, they do not need to know it in advance. Eventually, when I have a reliable group of TTRPG people to play with, I'll expect them to be able to pick up systems without a ton of help, but for players that are only used to the complexity of 5e, the idea of learning a new system is daunting. I rehearse the teaching of the game session. It's the only thing for TTRPGs I ever rehearse, but I want to know down pat how I'm going to quickly teach a new system and make it feel approachable and non-threatening. I'm also very clear that this will be a single session, with the possibility of turning into a campaign if we like it. All of this is structured to feel very safe. No initial learning required, no long term commitment, with a GM you already know you like.

But even as safe as that is, you still have to pitch the system. Why should the player be excited about playing this new game? Don't go all TTRPG nerd on them and explain all the details of the system, or use a bunch of jargon. Give them one or two things to be excited about with short, detailed anecdotes to back them up.

"We're going to be playing Blades in the Dark. It's a game where you play a gang of criminals in a haunted, steampunk dystopia. Every session you'll do heists, but instead of meticulously planning them, you start right in the action, and when you need to have planned for something, you can do a flashback scene to explain your preparation. One group I ran this for got busted by guards during an early heist, but used a flashback to create a scene where they had gotten a buddy of theirs a job as one of the guards, and he helped them out of the situation. And for some reason they fell in love with this bumbling goof I improvised to be the buddy, and then on a bunch of future jobs they kept using flashbacks to get him jobs wherever they were robbing. So this one idiot was just a de-facto crew member who worked a dozen different inside jobs despite being about as sharp as an eraser. And eventually they fucked up and got him killed, but they brought him back as a ghost, because you can do that in Blades in the Dark."

I find using a specific example of play really helps get peoples' imaginations going, which is what is going to help them say yes. And that example is tailored to what I know that player vibes with, what it is I think that makes them a good fit for this game.

The last detail about the invites is that I'm telling them, not asking them. It is not, "Hey, are you interested in playing this new game?" It's "I'm going to be running this new game. If you're interested in playing, please let me know what times work for you." If you're asking, you're going to get some "well but can it be 5e?" If you're telling, then they can choose to learn a new game in order to keep playing TTRPGs with a GM they know they like, or they can choose not to play at all.

Once you get enough yesses for a game, you run it, and then from there you're on your own. I think those are basically just friends you have at that point, and I'm not gonna tell you how to have friends.

Hopefully at least one person finds all that useful!

[elexuscal]

the longer i stay in fandom, the longer i think a huge amount of bad takes and discourse come from an... abundance of identifying with a character

to be clear, i don't think it's bad to identify with a character. far from it! i think that's part of what makes fiction so powerful.

and it's only logical people often attach to a blorbo because they're just like me, for real. a person will see some element of themselves-- their race, their gender, their sexuality, their hobbies, their family life, their specific flavour of neurodivergence-- and something just resonates. it gives them a way to explore and name this important part of themselves, a part they maybe didn't even know existed before it.

and everything is well and good until some split between them and the character shows up

because of course, no character, except an explicit self-insert written by yourself, will ever be a perfect 1:1 for your own experiences. so sooner or later-- maybe in canon, maybe in a fanwork-- your blorbo diverges from your lived experience in a huge way.

I think this is why shipping culture in particular gets so toxic. While it is by no means the only way to indulge with shipping, a significant portion is 'if i was in that character's shoes, i would choose X'. the fight becomes for your own self-identity.

but this gets expanded in other ways. a character who is revealed to be black when the majority of the fandom had just assumed they were white. or revealed to be queer, or maybe the 'wrong' flavour of queer. or fuck, even some more innocuous part of their backstory, one that's nonetheless so meaningful for SOMEONE, but now it feels like the story is saying, fuck you, we're doing something else

i don't know. i just feel acknowledging this perceived-attack-on-identity helps me understand why people react it what seems to be such outsized way to canon and fanworks alike.

at the same time, i think it's a really important thing to check in yourself.

it's nice, to see a character who you identify with. who resonates with for being like you. but it's also nice to acknowledge and appreciate the way characters are not like you at All. how great it is to get insight into this totally different lived experience. and to muse on how wonderful that recognition might be for someone who does have that background.

[imperator-titus]

Favorite Party Banter [Gale Edition]

[Astarion (Ascended)] [Halsin/Jaheira] [Gale] [Karlach] [Lae'zel] [Minsc] [Minthara] [Shadowheart] [Wyll]

I often miss party banter because of party comp (and sometimes just straight up can't hear??) so here's a collection of my favorite bants while going through dialogue files. I know the wiki has the banter (most? all?) but I added the file names and dev notes.

Either Gale is the main speaker/subject or I think his reaction is good shit.

Not in any particular order.

[PB_Laezel_Gale_ROM_Act2]

Gale: So, Lae’zel - have you ever been tempted to use psionics in your, erm, romantic endeavors? {Devnote: Curiosity winning out over awkwardness}

Lae’zel: Only once. Did you know, in low-gravity settings, githyanki can maintain aerial suspension for hours at a time? {Devnote: cheekily}

Gale: Fascinating - I think the archmage Tasha described a spell with similar effect. I really must look that up… {Devnote: latter part almost to self}

[PB_Gale_Astarion_ROM_Act3_Spawn]

Gale: If you’re feeling faint after your bout with Cazador, Astarion, I don’t mind donating some blood. {Devnote: Sincere/Genuinely trying to help}

Astarion: When you’re still full of that Netherese bile? I’ll pass, thank you.

Astarion: Besides, I have someone else to nibble on. And they are delicious.

[PB_Gale_Shadowheart_Morgue]

Gale: Look at this place. Such horrors defy descriptions…{Devnote: In very bleak/grim surroundings}

Shadowheart: Silence can be best. Give it a try sometime. {Devnote: A little cheeky, though they’re in a grim place}

[PB_Gale_Shadowheart_ROM_Act3_Selune]

Gale: I must tell you, Shadowheart, the bathing waters here leave much to be desired. {Devnote: a bit know it all}

Gale: The ablutions offered at the Temple of Beauty in Waterdeep are far superior. And they have the most excellent soaps. 

Shadowheart: Hmm. I was wondering why you always smelled like a wealthy dowager. {Devnote: teasing}

[PB_Wyll_Gale_ROM_Act2]

Gale: I’ve heard that in Baldur’s Gate, ‘wizard’ is also a term used for one who eschews their more, ahem, carnal desires. Is that true, Wyll? {Devnote: Fishing for info, a bit annoyed about what he’s heard.}

Wyll: Where are we going with this, Gale?

Gale: Oh, nowhere. I just think it a rather cruel misnomer. Not at all reflective of the glamour wizarding life affords. {Devnote: A bit sulky/sensitive about it}

[PB_Gale_Astarion_ROM_Act2]

Gale: I fear I've been rather hasty to judge you, Astarion. {Devnote: sincere/sympathetic}

Gale: One heartbreak was quite enough for me, but to experience it as many times as you have must change a person.

Astarion: Thank you, Gale. Let us both hope that broken hearts are a thing of the past.

[PB_Karlach_Gale_BlushingMermaid]

Karlach: Man, it's good to be home. First round on who?

Gale: She who thirsts buys drink the first. {Devnote: Like it's a well-known saying}

Karlach: You won't pin me down with a rhyme, wizard! {Devnote: jockeying with Gale}

Gale: She who declines gets the worst of the wines.

[PB_Laezel_Gale_ROM_Act3_001]

Lae'zel: Gale, I've heard you talking in your sleep. Your mate needs better rest for our journey.

Gale: And deprive them of the pleasure of hearing my nocturnal postulations? I'd never be so cruel.

Gale: The mind absorbs much while we believe ourselves dormant. To lie beside Gale of Waterdeep is positively educational.

[PB_Karlach_Gale_ROM_Act1]

Gale: Karlach... a hypothetical question for you.

Gale: If someone - not me, of course - detected a hint of romantic interest in them from another, unnamed individual, what might that someone do about it?

Karlach: Whoever it is, just talk to them, Gale. And leave out the hypotheticals.

Gale: Talking. Right. I'm good at that.

[citrus-moonlight]

As I often do, I've seen a few posts going around lately lamenting the lack of interaction with fanfiction/fanart here on Tumblr as well as AO3, but after reading a particular comment last night I just need to say this:

If someone tells you that the lack of response to sharing their writing is making them feel so upset that they're thinking of quitting writing altogether, don't tell them that's not a good mindset to have and they should just have fun with it and write for themselves. (have you just tried not being sad? you'll feel so much better!)

Even if you're a writer who felt that way once upon a time but then you changed your mindset so that you don't rely on others' feedback for validation and now you're so much happier, that's not helpful. Because that's obviously not what the person who is feeling sad and defeated is able to do right now, and for most writers/creators that's never going to be possible.

And it shouldn't have to be.

Especially here. Especially fanfiction.

Fanfiction is something that's created because someone loves something and wants to share it with others who love the same thing. And this is specifically a fandom space, somewhere that is supposed to be a community where discussion and dialogue can and is encouraged to happen between the people who write and the people who read. So when there's radio silence when you share something in this kind of space, do you really not see how that would be discouraging?

Because of course I write for myself - I would never get anything down on the page if I didn't - but I share because ultimately I want someone else out there to read what I wrote, and with any luck, to get some joy out of it. But if no one tells me they did, how am I supposed to know? As far as I know I've just been yelling into the void. As far as I know, all that work wasn't worth it.

A metaphor I've seen as an example is that it would be like having someone invite you over and cooking an entire delicious, heartfelt meal, you eat it all without saying anything, and then just leave. Do you not see how that would be upsetting?

We put so much of ourselves into what we write, bits of our hearts and souls and the things that we love and are exploring and are interested in or confused about. It's such a vulnerable thing to share something you've created, so when you tell someone that they shouldn't care if someone else reads what they wrote or tells them that they liked it, you're dismissing a very real and valid experience for so many creators out there.

Because regardless of how slow or fast a writer is, or how big or small their fandom is, it's still hard and takes time and energy and dedication and love - all of it in between our day to day lives from the mundanities to the heartbreaks - to even get something to the point where we're comfortable sharing.

Now, I know that not everyone thinks that writers are silly or selfish or entitled when they ask for feedback. Before I started writing again after many, many years, the main reason I didn't really comment on fics very often wasn't because I didn't think that the authors deserved feedback, it was more that I didn't really think that it would matter. That my comments would just be noted - if read at all - and brushed aside and then they would continue on about their day.

I could not have possible been more wrong. You might think you're just one person and it's just one comment but it's amazing how it can turn a day (or week, or month) around. How it can encourage someone to finish a story, or make a connection they'd been struggling with, or even just manage to add 500 words to a WIP. It is truly incredible to hear that someone loved something I wrote, and if you've ever commented on or reblogged one of my fics, please know that it truly means the world to me.

I've gone through a rough time with all of this lately myself, but I'm doing a bit better now (for the moment), so I just wanted to say this, in part to remind myself when it inevitably gets hard again:

If you're reading this, whether you're a friend or you've never seen me on your dash and never will again: I'm sorry it hurts right now. I'm sorry you feel discouraged and lonely, that it doesn't feel like it's worth it anymore, that you're struggling to find a reason to continue.

But I desperately hope that you keep writing. I hope you keep sharing. You're worth it. I know it's hard, and if you don't want to and you're just tired of the cycle of giving so much of yourself and getting so little in return, I understand that, too. It's ok to be in your feelings about it, it's ok to feel drained by it, and even though knowing you're not alone in your experience doesn't change anything and it still sucks, it's normal and valid and there's nothing wrong with you feeling the way that you do.

But I hope that you are able to find the joy in it again, because you deserve it. ❤️

[rizsu]

geto, above all, will do anything for his little girl. whether it's spending hundreds on a ridiculously large bouncy castle or a miniature designer bag. whichever fits her wants at best, she'll get it. but there's just one peculiar thing geto finds himself not being able to give her: the answer to her question.

with every ounce of his attention focused on the teriyaki chicken, he tries to quietly prepare a simple meal for dinner. right now, you're participating in your daily naps which lead to daddy-daughter alone time. a four-year-old girl keeps him company during the hard times without your presence.

if only geto knew how many questions a child can throw at him under a minute. he responded to most of her questions automatically, however, there was just one particular question that rendered him answer-less.

"daddy, why do you like mommy?" a harmless question. it doesn't reek of any deeper meaning nor was it meant to throw geto into a spiralling abyss. but why does he like you? when did he fall in love?

he wonders whether it was because you looked at him up and down as if he said the world's most offensive thing or maybe because you accidentally slapped him when he snuck up on you — actually, he vividly remembers and will continue to be embarrassed by that.

it all happened like this: you were waiting for the vending machine to deliver your snack. obviously, you were minding your business, but someone else wasn't. it took nothing but a left turn for geto suguru to stop in his tracks. as if mischievous music had been cued, geto smirks to himself. he has discovered his plan and his victim. no, he doesn't know you, nor do you know him. he's just very, very bored and needs entertainment.

geto sneaks his way to you. his posture was oddly cartoonish for his age: large, quiet tiptoe steps, hands brought up to his chest, eyes squinted for extra focus. according to the getology sugurist chronicles, one must imagine themselves as silence to achieve ultimate silence. real gangsters move in silence, they say.

"hey—" his sentence was unfortunately cut short. the sudden physical contact against his face left him breathless. he dares for whoever slapped him to not — oh!

is this what they call romance? "first love at sight" or whatever the hell satoru said? whatever it is, he's blushing. geto didn't expect such a beautiful, majestically shocked, and a tad bit disgusted lady to be bestowing him with her gaze. right now, as of this moment, he feels like saying, "haha, no girl has ever hit me before," but he won't. he has his own limits for cringing.

"sorry, i got startled," you apologized, reaching your hand out to soothe his cheek.

as if it's a default reaction, geto steps back. "don't worry, it's okay."

"please, let me treat it. it was my fault," you insisted.

"no, no. i'm okay, really."

sighing, you hand him the snack you ordered from the vending machine. "then take this."

and from there, the story of his love with you became history.

whirling himself out of the flashback, geto redirects his attention to his daughter. truly, he doesn't know what exactly made him love you. from the slight crush to marriage, geto's fell in love over and over. there's not just a single moment that hooked him to you. it was just you. not a moment, not a memory. just you. but of course, he isn't going to get sentimental with his little girl!

choosing to go with your first encounter, he answers her, "your mom slapped me and i immediately found her attractive."

"oh.." a confused look dawns the four-year-old. her head tilts to the side, eyebrows furrowed with lips twisted to the side. is daddy crazy? she can only wonder to herself.

geto's amused by her reaction. her confused look is replica to yours — kind of makes him miss you, if he's going to be honest. but as stated in the getology sugurist chronicles (2), one mustn't awaken the slumbering mother hen. he learnt from experience.

[riality-check]

A continuation of this post. Part 3

ao3

As that long-haired guy walks away - his friend onstage called his name, but Steve didn’t catch it - Robin nudges Steve.

“Asshole roadies,” she says, sing-song.

“Get fucked,” Steve says with her.

It’s tradition, that little chant. Every gig, there’s always one venue where someone with far less experience says something. Steve knows he was blunt and probably shouldn’t have said anything with that tone, but after too many times, his patience is exhausted.

He can’t even blame the blunt thing on ASL. If anything, he’s meaner in English.

It makes sense. He knows English a lot better. He and Robin only started taking the ASL classes two years ago, when he really needed it. His left ear had been pretty much gone for a while (fuck you Billy Hargrove for putting ceramic in his scalp), but he sucked it up and started learning when his right ear started going, too.

Honestly, he has no idea what caused that.

Two years of ASL means he and Robin aren’t fluent yet. Not even close. But between that, his residual hearing, and the lip reading he’s relied on for longer, Steve does alright. If he wasn’t at a gig, he’d bring his hearing aids, but that’s a recipe for disaster and broken equipment.

Plus, he’s learned he can’t focus on his job when he hears as well as feels the music.

Robin taps his arm again. You good?

I’m good, he signs back.

They finish setting up before they grab a snack. The venue is pretty tiny, a standing room only place that serves pizza and a few drinks, and that’s it.

The pizza is really good though.

They finish up their slices before they go back to the booth. Robin is particular about not eating around the equipment, and Steve has long given up on fighting her.

Their jobs are pretty easy, in all honesty. The light cues are pre-written, and sound check was an hour ago. All Steve needs to do is hit the cues, and all Robin needs to do is adjust mic levels and turn them on and off as needed.

This leaves plenty of room for a healthy amount of fucking around.

As Robin, always on his right side, starts telling him a story about her friend’s ex’s (who is also her friend, because lesbians are just like that) latest date, Steve watches the crowd file in and nods along.

His mind, however, goes back to that guy. Someone always says something, and it’s always someone new to touring. Steve can just tell. All the rookies do the same thing; they look at the stage with wonder in their eyes. This guy was no different. Just some rookie giving Steve a problem, like always.

Except that this guy was different.

Rookies tended to want to prove themselves. They wanted to show off their fancy knowledge and make it clear that they belonged there along with everyone else who had a career. They wanted to catch Steve off guard, make him thank them for helping him out.

This guy didn’t do that. He was nosy and pushy and pretty and rambled a lot, but he wasn’t trying to be a dick. He was trying to look out for Steve, even if it was none of his business, even if he didn’t know him.

He ended up being a bit dickish, but he wasn’t trying to be. If Steve were a nicer person, he’d think that might count for something.

Steve is trying to be a nicer person, with emphasis on trying.

His watch vibrates, jolting him back to the moment. He lowers the lights, cueing the openers to go on.

The set list, along with Steve’s cues, is in in a binder between him and Robin, lit by a book light with a battery that’ll die at least twice, with their luck.

The first opener is a band Steve has never heard of called “Corroded Coffin.” If they’re any good, he might listen to their music.

Big emphasis on might because he’s not a big fan of metal. Punk has better bass lines, one that Steve likes to feel in his chest.

He hits the cue when they start their opening song, lighting them in reds and purples and-

Oh. Shit.

That guy wasn’t a roadie. He’s part of the opening band. He’s a guitarist.

A really good guitarist.

A really hot guitarist.

Steve is so caught up in stating that he nearly misses the next cue. He doesn’t, though. He’s a professional.

Robin elbows him, and he turns to see her signing. For one hopeful moment, he thinks she’s signing “hungry” and will offer to get them both more of that really good pizza like the wonderful friend she is.

But then she repeats the sign, again and again, and Steve smacks her before hitting the next cue.

“I am not horny!” he whispers, clearly loud enough for Robin to hear through her earplugs because she laughs.

You think he’s hot, she signs.

Steve rolls his eyes.

I’m right! she teases.

Steve faces away from her for the two seconds it takes for her to tug him back.

“Not fair,” she says, and Steve only gets it because it’s light enough to read her lips.

The band has gone through two songs, and the lead singer, a tall Black guy, is saying something to the crowd. Steve hears it just fine with all the mics, but understanding is too much of a struggle to bother.

He doesn’t really care anyway. He likes feeling the music and hearing it with what he has left (his audiologist said it won’t accelerate his hearing loss, so any hearing protection is a waste of money), not listening to whatever the bands have to talk about.

Anything important? he asks Robin.

She shakes her head.

Steve turns back to the stage in time to hit the next cue, casting the band in blue as the guitarist starts playing a really low intro.

Did you hear his name earlier? Steve asks.

Robin says something, but it gets lost in the music and the dim light.

“Hettie?” Steve asks aloud.

Robin shakes her head. Sorry.

She finger spells, messing up once and throwing it out with a wave of her hands.

“Eddie?”

She nods.

Steve hits the next cue and uses the rest of the time to appreciate the view. Eddie really is hot, in his dark jeans and tattered tank top, grin on his face and quick-moving fingers. And Steve has never had a chance to talk to the talent, even if they’re nosy.

But Eddie was nosy because he was worried. It would almost be sweet if it wasn’t so condescending.

He didn’t mean for it to be, the terrible little rational part of Steve’s brain pipes up. And he apologized. Multiple times.

The bigger part of his brain reminds him that it doesn’t matter what Eddie meant it as. Steve effectively tanked any hope when he snapped at him before the show.

Oh God.

He has to do a whole tour with this guy. Who he was a total dick to.

Yikes. At least he has Robin, who is-

Currently staring at him and signing “horny.”

Steve smacks her again, which she laughs at and returns instantly before they focus back on their jobs. They’re professionals, goddammit.

Professionals who are already on less than stellar terms with one of the openers.

He’s so not looking forward to the next few weeks.

Tag list (this is not a regular thing for me but it was manageable this time!): @just-a-tiny-void @weirdandabsurd42 @satan-is-obsessed @honeysucklesinger @coyotepup345 @gayafmermaid @thegingerrapunzel

[dduane]

I just read the part where Kirk experiences the Enterprise's point of view in The Wounded Sky to someone else, where she sees the crew as children she is training up to the Great Desire of exploration for exploration's sake, especially Jim. His reaction, essentially: "That was really pretty. ....And then he blows her up."

I hadn't thought about that before! I checked the copyright date, and it looks like The Wounded Sky came out a year before The Search for Spock, so you were writing without knowing that sacrifice would eventually happen.

How did you feel about that? Do you wish that writing decision had been made differently? (If, as a Trek writer, you're allowed to comment on other Trek writers' choices!)

You know, I tend not to think a whole lot about such issues. First of all, because (in the long run) it gets you nowhere in particular that's useful. And secondly, because it's not a thing that, as a Trek writer in any medium except film, you have the slightest power to change.

Now, at this end of time I think we can safely say that no one's going to hire me on to write a Trek film. And also that no one at that end of the creative spectrum is going to pay the slightest attention to anything I say, either. Both of those situations are just What's So, and neither of them bothers me. (Since I have universes of my own to manage at the moment, and that's where my attention properly lies.) So as regards my opinions about other writers' work, I'm pretty much off the hook.

If I had been on screenwriting duty for that film, would there be things I'd have wanted to do differently? Hell yeah. From the premise up. But the important thing here is: would those things necessarily have worked better on the screen / with the audience? Impossible to tell. And speaking as someone repeatedly given permission to work in someone's universe, the main thing to be aware of is the expectation that your chief responsibility is to do what best serves the characters and the IP of which they're part. (There's a post over at Out of Ambit with a lot more of my thoughts on the subject:)

The other thing to remember is that, though I've worn the Canonical Hat in my time, novel work is by definition non-canonical. Doing it, you are at all times working with the understanding that the licensor rarely views your work as anything better than a corporate side hustle—a way for the IP to make some cash on the side—and will ignore you and the stuff you've created unless given pressing reasons to do otherwise. (Such as when they might make some unexpected money off it... at which point you remind yourself as forcibly as necessary that what you did is Work For Hire; they own it, lock, stock and barrel, and you should not realistically expect to be given any credit.)

And, if you understand the rules and enjoy the work enough, all of this is okay. The reward is not in making a lot of money doing it, or even in having aspects of your work openly assumed into canon. The reward lies in being allowed to contribute to a given universe in public (and, yeah, getting paid for it by the licensor). It's not payback: it's payforward. And you're left an astonishing amount of freedom to bring your vision to that universe. (Sometimes... as one colleague has McCoy say... you have to be "very, very careful" to get away with it. But it can be done.)

The truth is that even in the 1980s, I was sharing this level of playing-in-a-universe with a goodish cohort of editors and writers: a big roomful at least. Now I'm sharing it (retroactively speaking) with hundreds of them. With the best will in the world, even in the 80's the licensors (as regarded film) couldn't have realistically polled/listened to all of us regarding our creative opinions about the screenplay end of things. As for what that'd look like nowadays... I'll leave you to your own deductions. 😏

Anyway, thanks for the question. It's always nice to know that there are people who want to know what you think. 😊

[punksocks]

Astro Observations No.12:

-just my opinions, take them with a grain of salt !

-Does anyone else notice that Taurus in the big 6 (but even more in the big 3) gives people a square/sturdy look about them.? Their head or their hair or even their hands or their torso (more rectangular but ykno same rule applies) some physical aspect of them tends to be squared off.

-Omg nobody likes showing off their significant other like a fixed Venus! (If they really like them ofc)

-Mars in 1st/Aries risings walk really fast and are always going like they’re got places to be even when they’re just wandering around.

-Said this in my astro analysis on the show You but like, Mars in Asc/Aries rising women can have a bit like not like other girls or I mostly get guy friends vibe a lot of the time. Sometimes I notice this with Aries moon women as well (sometimes they think they’re above more traditionally feminine women sometimes they don’t, this depends on how they’re socialized imo)

-Scorpio/Chiron rising may have tattoos heal especially well on their body (it’s scarification after all)

-Men/Masc folks with heavy water placements tend to be…tumultuous. I think its a cross of how masculinity is defined societally (patriarchy is such a thing) and the intense emotionality that water heavy folks already tend to experience. I think developed water heavy guys can be very comforting and emotionally in tuned and have a very nuanced sense of masculinity, but they usually have a lot of work to do to get there. Heavy Scorpio placements are known for this but Men with Cancer in the big 6 have a lot of work to do with their relationship to women & femmes/feminity/their mothers/ being nurturing/healthy emotional expression.

-Where Capricorn is can show where you’re picky and a bit rigid in your expression- Venus means you’re picky about who you romance and befriend and you can be critical of your friends and partners; moon means you express your emotions in very particular ways and can be rigid in naming your harder feelings etc.

-No matter how sweet someone is, if they have a fire Mercury they’re gonna say something out of pocket (they’re gonna go too far with a joke or something) to you just because they’re a fire Mercury. No filter imo.

-Do Gemini Venus women appear fox like or is that just something I see? Lol (maybe true for Gemini Asc as well?)

-Mercurial risings do tend to look youthful and mischievous, I believe Mercury is a trickster god in mythology and I see that all over virgo/gemini Asc. Just a sparkle of mischief in their eyes even if they’re not up to anything nefarious. Also they frequently have people guess they’re much younger than they are.

-It’s so interesting that no mater how dark Scorpio risings look kids are often like totally chill with them or even drawn to them. I’ve had kids stare and approach me. Idk why, I do feel protective over my siblings but those are kids I know lol. Maybe it’s Pisces in 5th? Giving a ethereal and empathetic approach to children in general? Food for thought. (Once a tiny girl complimented my hair from a car window and I thought I was hearing things then I saw her and I was like :,0 thank you precious child and that was that lol)

-Earth moons can have a special soothing relationship with animals, like calming for the animals and the moon natives. It’s almost symbiotic at times.

-I’m big on wearing what you want in general but especially if you’ve got that 1st, 4th, 10th house Lilith/ Lilith conjunct, square, opposition your ascendant - Reclaim your power and wear. what. you. want. Your confidence will carry you a long way. (Same can apply for Pluto aspecting Asc)

[pia-nor481]

Oscar Piastri NSFW alphabet

A-Aftercare (what they're like after sex?)

Always cuddles, whether she's resting on his chest or him on hers. I definitely see him being lazy afterwards and is all "do we have to get up, it's so comfortable" but he knows better and does so with a groan.

B-Body part (what is their favourite part of theirs and their partner?)

He actually really likes his cock. Not overly sure why but just does. But also his hands, they can do a lot.

I don’t think there’s one part of his partner that he doesn’t like. But he like boobs. Always has and always will. Seeing them is a pretty bra just gets him off. But he will always have an appreciation for ass.

C-Cum (anything to do with cum)

Oscar likes things MESSY. He will happily cum absolutely anywhere, and he comes a lot. Also taking into consideration Australia's circumcision rate of 10-20% (depending on where you look) I reckon he isn't, and so is very sensitive, so it's quite easy to make him cum.

D-Dirty secret (just a dirty secret of theirs)

I think he might really like the idea of someone watching, he’s a bit of a voyeur. Not many would believe he’s so fantastic in bed. So he’s like someone else to see and say so. Not that her body language doesn’t tell him that. He’s a bit of a show off at times. But it’s always hot.

E- Experience (how experienced are they)

Not very, but he's so willing to learn!! He wants to make her cum because she deserves. If he eats her out he doesn't expect anything back, but he'd never complain. I think he likes to do research and wants to try it out, so immediately he's telling her about this thing and he's all giddy.

F- Favourite position

Oscar loves so many positions!!! He really likes straddling positions where she's on top; any variation of cowgirl or where she's sat in his lap. But he also likes to be on top;any variation of missionary, but in particular when she has her legs around his waist and hands in his hair.

G- Goofy (how serious are they in the moment)

Definitely a mix of both. There's definitely times where nothing arousing or particularly intimate has occurred yet he really wants sex. Or times where they could have a pretty normal conversation while getting railed. But he like more serious sex too- he likes to focus on pleasure-not just cumming.

H- Hair (how well groomed are they? Does the carpet match the drapes)

I think Oscar's hair is the same colour. But I think he's very well groomed, although he's okay with mess (have you seen his drivers room?) I think this would be something he's quite picky about. Always trimmed to a nice length. Have you seen his happy trail? I think he’d be a little scared of razor burn (probably happened once and was suffering) so avoids them like the plague, unless she offers for him when in the shower ;)

I- Intimacy (how are they during the moment? Romantic? Pleasure driven?)

I’m lead to believe he’s very romantic, he wants to show her how passionate he is. He loves her with all of his heart, and what better way to show that than pleasure. He knows that the build up to an orgasm is just as fun as the final climax so he isn’t always desperate to cum.

J- Jack off (masturbation headcanon)

In my mind he doesn’t masturbate often, but when he does he likes to tease. He uses such light pressure that he can’t get anywhere close to cumming. Or he’s so desperate that his main focus is the head, he just rubbing an open palm against the tip, moaning while is eyes roll back. However he doesn’t like to Jack off, he’d prefer her hand or mouth.

K- Kinks (one or more of their kinks)

Switch- if it wasn’t made obvious I think he’s the perfect example of a switch. He’s equally as submissive as dominate, and it makes for a really good sex life. With his dominance, I think it comes mainly position and instruction; there will be times where he just picks her up by the waist, places her on the nearest surface and just fucks her brainless

Bottoming- is this even a kink? Well it’s here now. I think this came about from his little research moment, he saw a lot about how much pleasuring the g-spot could heighten his orgasm and practically begged for it.

Temperature play- I think ties into a fondness for toys. But also, now hear me out, when he’s getting a bj and there’s lots of spit on his cock, he likes when she blows air onto it, giving a cooling sensation.

Voice/sound- he loves when there’s some kind of music playing, but he also loves just hearing her voice, maybe it’s because he likes being told what to do.

Praise/degradation- this can be read in the context of either dom or sub. But he’s loves degradation with a mix of praise. “Such a slut, so good for me.” Praise him because he derives it!! But call him a slut for looking at lando like that. Oscar loves to give praise after sex, sweet nothings and pillow talk is his specialty if he’s coherent.

L- Location (their favourite place)

I’m going to have to be basic in saying the bedroom. However not just the bed. Say you’re picking out some clothes from the wardrobe, if you’re trying things on, you should know it’s not long until you’re being pushed up against the door.

Round two in the shower are a must.

M- Motivation (what gets them going?)

He really likes dirty talk, but the subtle kind. Or if you whisper in his ear out in public “I can’t wait to get home and have your cock in my mouth” he’s already semi hard. “I think it’s time we leave”

Lingerie- I imagine him to really like baby dolls or really pretty/ intricate bras and panties.

N- No (what turns them off)

CNC-he can’t see the appeal of it.

Spanking- I’m talking more about 5+ with the intention of it really hurting/being a punishment. He definitely likes to tap her ass. But not leave it so red and sore that she can’t sit.

O- Oral (preference on giving or receiving. Skill)

I think he may slightly prefer giving. Just seeing the pleasure he can give with his tongue/hands. He’s very skilled in eyes, I think that he’s desperate to please and so found different techniques to see what would work best. Oscar *fuck me eyes* Piastri like to be on his knees while you ride his face. However, when he sees how enthusiastic she is about blowing him, how can he say no?

P- Pace (Are they fast or slow? Rough or sensual?)

He definitely prefers slow and sensual, but he does like it rough from time to time. He knows variety is super important and is very willing to give that. I think post race win!Oscar definitely likes hardcore, he feels like he deserves it.

Q- Quickie (their opinions on them? How often?)

I think he can see the appeal and is quite happy that he can cum pretty fast, the risk of it is nice so he does enjoy them. But he would definitely prefer hours long to have his way with you.

R- Risk (will they experiment? Do they take risks?)

He loves to experiment. He knows to switch up his technique every so often, switching from deep thrusting to short and shallow. The following week maybe he tries to milk her g-spot. He will always keep it interesting

S- Stamina (how many rounds do they go for?)

I believe he can go for quite a few rounds but he has a long refractory period. You have to wait quite a few minutes to even dare to touch his cock after cumming. But it will take him a while to cum again. But he’s easy to overstimulate

T-Toys (do they own any? Do they use them? On a partner or themself?)

Absolutely loves them!! His personal favourite are vibrators. He loves using them on her, as well as on himself. If he was really spending the whole night focusing on her, his mouth and hands will need a break. So he’s ready to get out a rabbit or a wand. He might like handcuffs but it can be a spur of the moment thing, even if he’s in control. The first time he used one (a vibe) on himself he came in under five minutes, and overstimmed himself. He didn’t focus on the shaft enough. But he later realised to use a slow vibration and apply less pressure. His favourite dildo is 6-inches btw.

U-Unfair (how much do they tease?)

He loves being teased but not edged. When he wants to cum he should be allowed to!! Or he’ll pout. Slowing down while blowing him is one of his favourite things. But he also loves to tease back. He’s NOT all talk. He’ll make you wait for hours before you’re allowed to cum. Only kissing around your cunt. Or just twisting/sucking your nipples. But you won’t cum. Foreplay is a favourite of his.

V-Volume (how loud are they? What sounds do they make?)

When dimming he’s not quiet, but not loud. He’s definitely making noises. He groans and had a very low moan. But the more he cums the higher and louder the moans become. He’s very breathy if that makes sense.

W-Wild card (a random headcanon)

He really loves flavoured lube. He’s got all of the fruity ones in the bedside table. He just thinks it’s nice to spice it up as lube isn’t just used on his cock or her cunt. Yes he does like whipped cream and sweet sauces, so he cheats on his diet quite often.

X-X-ray (how big are they?)

Definitely more thick. Although I can imagine 6/7 inches I’m not sure why.

Y- Yearning (how high is their sex drive)

Not very, he just gets very caught up in the moment. So one day he’ll be begging for hours on end for pleasure as if he didn’t have morning sex or didn’t bend her over the sofa two hours ago. Other days he just doesn’t feel like cumming at all. But if you asked he’d definitely eat you out, or grab one of the many toys scattered around his messy room. Overall some days are 0/10 others 10/10

Z-Zzz (how quick do they fall asleep afterwards?)

Oscar Piastri sleepy boy confirmed. He loves his sleep so much, so pretty quick; especially it was very sensual and romantic. But if the sex was more rough I think the adrenaline would keep him up for quite a while.

Help why is he so pale. Like you’re from Australia babe, how are you as white as me. (I’ve not stepped foot in the sun for 3 years.)