#these are characters that are actively living in there

[thewistlingbadger]

All the shade in the world when we say we want complex women characters we want more Ellie Williams and other characters whose actions make our insides twist, not frustrate us. We want characters that we hold beloved to become corrupted by fate but still have the opportunity for some redemption.

Caitlyn Kiramman is an interesting character, but she does not fit the bill for the "complex female characters" we desire. Jinx, Vi, and Mel better fit that bill. All three of those women have given us reason to both love and despise them. Many a difficult conversation have they been the subject of. And to me personally Cait just falls flat. And I don't think it's her own fault I think it's the writing. Season 1 cait is 🔛🔝 but season two cait? I understand that she's grieving her mother, HOWEVER, we barely saw any interaction between the two of them and the little that we did see showed us that she wasn't fucking with her like that/they had a complex and somewhat negative relationship. Imagine how the season opened with Cait actually finding her mom's dead body. We would all feel sick, and we'd all pity her. Or imagine had we been given a flashback between her and her mother when she was a child in the garden, having a good time. Or imagine how they just even mentioned the fact that their relationship was strained. Losing a parent is bad, what makes it worse is having unfinished business with that parent (which is why people love the story of Ellie Williams, it's why we understand why she wants to go after her father's killer other than the fact that the killer murdered her father). Caitlin only having one motivation to go after jinx, to descend into hell, to avenge her mother is not even. "Jinx killed mom now I kill Jinx" there's nothing compelling about that. We've seen the story several times.

Just to give a direct comparison.

Jinx's dad was a man she had an extremely complicated relationship with and this relationship was showcased throughout the season. The fact that she essentially lost her sister and killed her father at the same time is what pushes her over the edge. We completely understand why she's going to burn the world down because the show told us over and over and over again. Jinx always manages to lose the people she loves the most, and this time it's happened directly by her own hand.

Jinx's missile only kills three people, blows up a building, and inspiresb fear in the hearts of pilties and amazment in the hearts of Zaunites. Her actions were bad, but ultimately very few people actually suffered from her actions. The council only lost three people, it's not like pilltover's governmentless now (like how zaun is). The damage to the building wasn't that bad and it's easily repairable. And overall from her actions alone the citizens of pilltover are still safe.

Now let's look at cait. She's actively ruining the lives of zaunites by mass gassing them (we also how many kids were on the street. We all know how many homeless and disabled people there are in zaun. Now they're all negatively affected due to cait's lust of vengeance) and by arresting them when they've committed no crime. She's parading around the city with deadly weapons, under the authority of which she does not have! Cait abuses her name and her position as an enforcer to DEMAND that the council follow her plan. She had absolutely no right to storm into there and act like she had the power to call shots. What's even more gross is that she completely lied to them! Her goal was never to locate jinx, it was always to kill Jinx. If she truly cared about bringing jinx to proper justice, she would have ensured she be brought alive. If she truly cared about dismantling shimmer, she would have done that first bc A. Vi knows exactly where the factory is and B. According to silco, the last attack already cut the supply in half. It would have been easy to finish that off. Caitlyn acts like she's judge, jury, and Executioner the entire time she's down there. Her prejudice increases exponentially AS does her willingness to he openly prejudice. She literally refers to Vi's countrymen as animals, and accuses vi of being disloyal several times! and must we truly mention the assault she did? Must we mention that she was willing to kill a kid? That's a line jinx herself has not even willingly crossed yet, and she's practically crossed all other lines.

At the moment Caitlin is not a character who's doing the wrong things for what she believes is the right reason. She's acting out of complete selfishness. Even jinx, who committed an act of terrorism, didn't do it for herself. She did it for her dad, who worked so hard to bring down piltover and didn't live to see it because he refused to trade his daughter for Independence and peace.

So these are just only a few reasons why people don't support her this season. And her level of oppression, arrogance, and maliciousness is exactly why people are calling out those who defend her, because the majority of her defenders are privileged and white.

"We want more complex female characters" you can't even handle an angry, grieving daughter who just had her mother killed by her future wife's sister, shut the fuck up

[wheneverfeasible]

Watching the movie Blame and had an idea.

Picture it:

Steve’s senior year, maybe post S2 or maybe even a modern au, and his English class is doing a module on stage plays. They’re split up into teams and each given a play scene they must act out together and perform in front of an audience.

Eddie, who is also in the class, is given a romantic scene (I’m honestly waffling between The Crucible and The Importance of Being Earnest as both are great for different reasons, but it could be any play with a romantic scene really) but none of the girls in class offer to do the scene with him when the teacher asks for volunteers. No one wants to work with the Freak, especially not in a romance scene.

And Steve is there, stricken by the way it was so obvious Eddie was trying to pretend that it didn’t bother him, and he finds his hand shooting into the air and his mouth saying “I’ll do it.”

Anyways, after some hullabaloo, it’s settled and Steve is allowed to do the role only because literally everyone else refuses to work with him. Steve is trying to be a better person though and he can put up with the discomfort. Eddie doesn’t trust him at first, and the scene is awkward because of it, but eventually they get to know each other better and get closer.

The scene becomes awkward for a different reason entirely.

And maybe Steve’s classmates or former friends or whoever start calling Steve queer slurs and things, making Eddie uncomfortable and telling Steve he can ask the teacher for a different partner since Eddie’s sure he won’t be graduating that year again anyways, but Steve refuses to leave Eddie to the jackals of high school.

And then the sexual tension gets so great during the scene and oops now they’re kissing.

Blah blah blah and they perform the play and pass the class (but Eddie is right and he doesn’t graduate lol) and live their happily ever after or whatever idk.

But yeah, just the idea of all the girls refusing to do the scene with Eddie and then Steve volunteering despite not being a girl and not like genderswapping the character at all either, just actively playing the girl role as a girl character without making it a joke.

Maybe Steve even does a bit of drag during one of their after school practice sessions to really get into the role 👀

If you would like to continue this idea, please feel free! Just send a link to anything you write for it 😉

~

Tagging my Hostage Hotties even tho it’s not a full story post:

@derythcorvinus @katyawriteswhump @honeii-puff @scoops-aboy86 @dotdot-wierdlife

@everywherenothere @bumblebeecuttlefishes

[archiveofcamelot]

i read somewhere that this fandom is still alive 12 years later because it had a very sad ending and we probably wouldn’t be so active if it were a happy ending.

i’m relatively new here, i watched merlin for the first time maybe 3-4 years ago, and i’m 21 now. when merlin was airing, i was 7-11 years old, and it didn’t show on TV in my country, so i didn’t know about it at all. but there are many of you here that were teenagers when merlin was airing, and the majority of you i believe live in the UK, where merlin was created. so you’re all around 30 years old now (sorry for the reality check) and i find that really sweet actually.

we’re all in this together, whether we were 7 or 17 when merlin first came out, and we all know the real truth of this show: merthur. and we’re all still making up stories about how it should have gone. and we all had (have?) a crush on any one of those characters.

i was looking on instagram the other day and looked up #merlinrp, to find posts from 2013 !!!!!! i literally, verbally said, “these are my ancestors.”

anyway i just hope this fandom never dies. it feels like somewhere i can always go home to if fandoms of my other interests die out. <3

[thatmexisaurusrex]

I think what really gets me is what the show is telling us through that breakup. That's what hurts the most.

It's that a queer person who's sad, who's alone, who's never had a stable family life; a queer person who's only gotten to a point where they're happy with who they are later in life; a queer person who yearns for a family, for love, for being someone's first choice but doesn't believe he can ever have those things; a queer person who has obviously been burned and believes that is the only outcome for him now; that no one would want him as family. That no one would love him enough to choose him first.

He walks out that door.

Alone. Scared. Spiraling. Reacting to trauma rather than Buck himself. It's seeing that and having the show tell us, yes, that's what he deserves. That's all he gets. He doesn't get a happy ending. He doesn't get good closure. He doesn't get to believe that someone wants him enough to fight for him.

Tommy was right all along.

All his fears were true and will be what he ends up with. Older queer people who want families and are scarred by their own past experiences don't get love or a family. They don't get a place to call home.

Then, you have Buck; Buck blindsided by the trauma; Buck seeing his entire six-month relationship fall apart and just letting it happen to himself again. Having yet another person in his life, in a moment of cowardice and pain, quietly and brokenly lash out that he couldn't believe Buck would actually take this seriously; that he couldn't believe that Buck would love him once the pedestal was gone and the shininess wore off. That, once again, Buck lets his relationship play out without any idea of how to be active in it. That someone Buck loves, that he thought about possibly marriage with one day, that he wants to live with, leaves him.

That Buck, once again, is abandoned.

That Buck can't know himself.

That the show wants to lean into lazy biphobic ideas and tell us, yes, that's what Buck deserves. The thriving relationship that he had crumbles within minutes because Buck doesn't get to be happy; how can he know what happiness is if he isn't playing the field? Because nothing he did before Tommy counted. Buck 1.0 didn't count. None of his previous relationships counted. Because they were all ladies, and how can you know if you've only been with one man?

Telling the audience that you can't be happy in a relationship if it's somehow a "first", despite everything pointing to the relationship being solid and good for Buck.

It is the worst possible scenario.

It is a nightmare for both Buck and Tommy.

Both messages are terrible for the audience.

There were so many ways they could have broken up and I would have been fine with it. I've talked about it before, but I was fine with Josh and Arnold breaking up in Please Like Me and I still love the show. I watched episodes with Josh and Arnold from Please Like Me as a comfort when I was reeling about this that first night! I was fine with Alexis and Ted breaking up on Schitt's Creek and I was still fine with the show. I was okay with Amelia and Kai breaking up and I'm still watching Grey's Anatomy. Because all of those breakups were understandable. They made sense. I can like couples and be okay with them not working out. And they're fictional. Fictional shit rarely hurts me, if ever. That's not my problem at all here.

It's how this happened. It's the message it signals to the audience. It's devastating. I'm still devastated by the choice. I've never felt this way about a breakup for two characters ever. The core of my grief and genuine hurt is what the show proves it believes in through this breakup. And that's what's hurt me.

[wilcze-kudly]

Something I've always loved about atla is how it handled scars, particularly Zuko's facial scar and Aang's lightning scar.

I've probably spoken before about how, as a burn victim with a ton of skin grafts on my legs, torso and hand, Zuko really was the first character "like me" that I saw on TV. It was, as you can guess, quite a momentous moment for kid me. Which is probably why I'm so disheartened on the live action show shrinking and toning down Zuko's scar significantly.

Too often scars, especially burn scars are seen as gore or body horror and too graphic to be seen on TV that isn't horror or related genres. And often scars, especially facial scars are reserved purely for villains and are used as a signifier for 'evil'. A trope that you'll find is still alive and kicking even today even in big franchises.

And while Zuko does reinforce this trope to some extent, I think it was subverted enough for it to have irs own merit. Atla also steers away from the scars=evil narrative, by having a lot of "good" characters have scars too like Bato and Song. This helps destigmatise scars as a whole, making Zuko's 'scarred villany' seem like a more individual case.

In Atla, scars are more the trademark of victims rather than villains and this rings true for Zuko too.

Zuko is a victim of the Fire Nation in the sense that the Fire Nation's values of war, strength and honour facilitated Ozai's abuse of him, particularly the scarring.

Zuko's scarring does follow a very established trope of a son being scarred by a father, which is surprisingly prevalent, especially with burn victims. Seriously I collect these men like pokemon. This tropiness isn't a bad thing, since I think it leads to us very quickly sympathising with him. I certainly did, since his experience mirrors my own.

The scene of Zuko's scarring is also particularly special, due to it being rather unique, because it isn't quick or an action scene, nor is it shown as an overly gory horror scene, despite it being, well, horrific.

It's... tasteful. Or at least, as tasteful as the scene of a child getting scarred by their father can be, I suppose. It doesn't linger on the violence, but also doesn't sugarcoat it. The scene of Zuko's scarring, and the events leading up to it also give us a good exposition to his better qualities, like his compassion, and a good explanation for why these qualities stay buried.

I can understand why some people in the fandom believe that Zuko's scar symbolises his 'worse side', but I actually believe its the opposite. Very often, when a character has a 'split down the middle' type of scar, their scarred side represents their worse half, like with Two Face from DC.

Because Zuko's scar doesn't symbolise his allegiance to the Fire Nation, it symbolises the fact that he failed to live up to the Fire Nation's standards. It's a physical reminder of the time Zuko actively defied the Fire Nation's standards and mindset.

We get a lot of nods to Zuko's scar aymbolising disgrace and failure to uphold ehat the Fire Nation expected of him. It's literally a physical blemish upon his 'honour'.

This is especially noticeable when Zuko's appearance is contrasted with Ozai, who exists as sort of the human stand in for the Fire Nation's imperialism. For most of the show, we are not shown any of Ozai's features, his face being obscured by shadow or out of frame.

We finally see Ozai's face, it's when Zuko is seeing hik for the first time in years. And Ozai looks so similar to Zuko. An unblemished, perfect, complete Zuko, so to speak. In Zuko's fever dream, where we see an unscarred Fire Lord version of Zuko, he looks exactly how I imagine a younger Ozai would look. I also love that Zuko's adult design seems to lean into this similarity.

Furthermore, Zuko's scar is used time and time again as a way he connects with victims of the Fire Nation. People who don't know him, like Song and Jet, assume him to be another victim of the Fire Nation, citing his scar as the reason why. Which is half true, Zuko is a victim of the Fire Nation, just not in the way they think.

Jet: I think Lee would make a good Freedom Fighter. He's just trying to find his way in the world, like us. Smellerbee: You don't know anything about him, Jet. Jet: I know he didn't get that scar from a waterbender.

One person who doesn't connect to Zuko over his burn scar is Katara. I love the scene of Katara and Zuko in the crystal catacombs. It's a profound scene and one that always makes me a bit emotional, especially in the wider context of atla, a subject I've touched on in this post.

However, the handling of Zuko's scar in this scene is especially dear to my heart. I strongly remember that, when Katara offered to heal Zuko's scar, I actually got scared and upset. I was terrified of Zuko's scar being erased, of the connection I felt to him snuffed out and one of the best parts of his characterisation being erased.

But that's not what happened, and the scene is amazing on that front and all others.

We learn that Katara asscociates Zuko's face with the Fire Nation, which makes sense, since he's been kinda clingy for the entire 1st season. Katara denies it having to do with anything with Zuko's scar.

Katara: It's just that for so long now, whenever I would imagine the face of the enemy, it was your face. Zuko: My face? I see. [He touches his scar.] Katara: No, no, that's-that's not what I mean.

The Katara lover in me believes her. As a a member of the Sothern Water Tribe, she probably has seen many burn victims. And her pursuing healing would also probably lead her down the route of normalising and understanding burn scars.

However, I would not be surprised or disconcerted if the scar did have something with Katara perceiving him as a villain. After all, to a lot of people, scars and "ugliness" denote moral ugliness. The very obvious fire asscociation probably doesn't help someone traumatised by the Fire Nation too. It is a sad fact of life that even those who know better subconsciously react to people with scars and other "deformities" with disgust and distrust.

We also see Zuko explicitly give us the rundown of his previously unspoken struggle with feeling like his scar is defining him as a person.

Zuko: It's okay. I used to think this scar marked me. The mark of the banished prince, cursed to chase the Avatar forever. But lately, I've realized I'm free to determine my own destiny, even if I'll never be free of my mark.

This is something I can relate to as someone with prominent scarring and I'm sure we all sometimes feel defined by things outside of our control. Sometimes It's hard to seperate your identity from your appearance. And it's even harder to seperate yourself from events that influenced you so harshly.

As I previously highlighted, Zuko's scar relates strongly to his failure to adhere to the Fire Nation's ideals and conventions, his failure to be the perfect prince of the nation. And while to us, that is a good thing, to Zuko, at least at first, that is a very, very bad thing.

To Zuko, the scar is a symbol of his flaws, and a just, if not harsh punishment for his percieved transgression. He sees it as a brand, denoting his mistake and shame. He sees it as the physical manifestation of what his banishment and scorn from Ozai means.

It's only when he begins growing as a person away from the Fire Nation's influnece, that he starts to realise that the scar is just a scar. It holds no power over him. And while he relapses for a moment, "demystifying" his scar allows him to do the same to the event of his scarring. It allows him to look back at that moment and not see righteous discipline, but rather see it for what it was and go "hey wait a minute that was actually fucked up.". Which allows him to look at The Fire Nation's conquest of the world and go "hey this is also fucked up.", when the lessons he's learnt in the Earth kingdom finally click.

I believe this is why we see Zuko almost purely from the side of his scar in the scene where he confronts Ozai, especially when it's contrasted with Ozai's unscarred eyes.

Zuko's scar, like many scars in fiction, symbolises imperfection. But rather than an "objective" imperfection, as most fictional scars do, Zuko's scar symbolises his imperfection through the skewed and biased eyes of the Fire Nation. It's a nice subversion of the trope that usually encourages us to equate beauty with goodness and ugliness with evil.

Side note, I know I've been using the terms "ugly" and "ugliness" to talk about scars. I just wanted to note that I don't think scars automatically mean someone isn't attractive/scarred people are ugly. But in a lot of media, scars are seen as gross and ugly, which is why I've been using these terms.

I like that Zuko defies this trope by being drawn as very attractive with his scar, and even being seen as desireable in canon.

Even though it does loop back to the 'attractive=good' symbolism, I don't think it totally invalidates the story Zuko's scar is telling. Plus it WAS an ego boost to child year old me who thought no one whould ever love me bcs I looked like a burnt chicken nugget. So I'll let it slide.

I love Zuko's scar, and I love how it seamlessly fit into the story, while also subverting tropes and invalidating stigmas towards scarred people. It's probably one of my favourite, if not very personal aspects of the character.

I do however, also want to analyse and go over Aang's scar from Azula's lightning and I plan to go over it at a later date, since this post is getting a bit long and overwhelming.

Toodles!

[dogtoling]

General life- and blog update , since I assume at least a few people might have been wondering where I've been and what i've been up to recently. I obviously haven't been posting or drawing much this year in general. This will probably be an important post if you care about stuff on this blog, and I already rambled on Sheezy, but that site isn't very populated yet and it's also very good at hiding journals so let's just ramble again...

The summary of this post if you hate reading: I'm heavily considering just stepping away from Splatoon. That decision obviously would affect this blog (mostly, my OCs, which is kinda most of the blog at this point). I don't think the blog itself will go anywhere, and I'll probably use it for something in the future... alternatively i'll cherry pick stuff from here into an archive for people who like the worldbuilding.

Longer post under cut:

So what have I been up to this year? The answer is quite simple: NOTHING. Like, actually absolutely nothing. Aside from Art Fight, this has probably been one of my worst art output years of all time, which is really frustrating. That's between my horrendous mental health and depression chasms this year and a complete lack of both focus and inspiration (which can also get chalked down to the depression to a degree, yeah). So the very real reason to why there hasn't been much activity on this blog this year is because I just haven't Done Anything in general.

Now because I know there will be a few people who think "that's fine! you shouldn't judge yourself based on productivity!" you're right! I also agree. However the issue for me specifically is that most (if not all) the time I spend NOT drawing or creating, I spend sitting around wishing I could start drawing or creating, because that is like the 1 thing that keeps me sane on this freaking earth. Unfortunately coming up with OC scenarios in my head doesn't really result in output I can feel fulfilled by in any form as much as I wish it did, lol.

Now; The Issue. It doesn't take a genius to see that if you spend 9 months trying to finish like a dozen OC pages that you COULD do in a week or 2 if you wanted to, then there's probably more than just the problem of executive dysfunction (even though that's at least 60% of it for sure). Obviously my other major problem is that I live by imaginary rules and structures that make sense, but aren't actually useful at ALL in reality and are more than a hindrance if anything (the mental to do-list in my head that says i can't do X until I've done Y doesn't do very much if task Y takes 10 months and I also don't want to do it, and it also has no structured ending).

How does this tie into stepping away from Splatoon, you may ask. Well, the issue is that I have foreseeably fallen out of love with the series. Which isn't exactly news lol. Currently, I'm not even sure i will get the next game, if and when the time comes. Yes, the loss of interest is also expected, given that Splatoon 3 has ended and every fandom has this kind of downtime and lukewarm in-between-titles period. But the truth is that modern Splatoon (almost 10 years old!!!!) is tangibly different from the way the series was back when I fell in love with it. That was Splatoon 1, and while the series has improved in a lot of aspects and is thriving, it's grown in a direction that I just don't really like. Splatoon 3 had the most freaking horrendous, immersion breaking story mode they could've done, then they followed it up with a DLC story that was pretty cool but also compounded a lot of my fears about the series' future and played into every single thing i do not want Splatoon stories to be - fully character focused, random fucking villain, mundane event that's unrealistically world-threatening just because a kids video game needs a scary climax even though it's immersion breaking AGAIN, the whole thing taking place in cyberspace and thus offering basically no worldbuilding even though there is SO MUCH WORLD. I COULD GO ON.

The gist of it is that nowadays, rather than playing Splatoon and being inspired and excited at what comes next, I mostly find myself dreading what dumbass plot they will do next to throw a wrench in the otherwise good stuff. And when that's like THE main approach I have to what's supposed to be my favorite series, it is HARROWING. I can't even really blame the game for this; the story is NOT its selling point, the developers probably do their best to get the bits to us that they really want to tell, and at the end of the day the game is unfortunately a product. Worldbuilding for Splatoon is fun to a point. It's less fun when in order to actually write or create something coherent, instead of filling in the blanks, the blanks are 90% of the freaking thing. At that point you're just better off making something of your own instead of being anchored onto an IP that gives more problems than answers and occasionally shoots you with like a machine gun. Working in the realm of Splatoon is frustrating because more often than not, the questions I have ARE NOT MINE TO ANSWER, and the likelihood that the specific-ass questions I need answers to will ever be actually addressed is really low.

Tying this back to my OCs. Obviously I love my OCs more than I love myself which admittedly isn't that high of a bar but you get the point. The problem is that I spend a lot of time mulling over worldbuilding that, again, frankly isn't mine to do. Because if I want it to be Splatoon, then it should be mostly accurate to how Splatoon is! But the problem with that is that there's really not THAT MUCH worldbuilding in the series that you can work with, and most of the core game mechanics are just abstract enough that it's actually horrendous to try and come up with workarounds and ways for things to make sense that don't require just constructing a full knockoff version mirror dimension of the game and saying fuck everything that's in place here because Inkopolis Plaza literally has no roads in or out of there and I have no fucking idea how that's allowed when your only option is to jump the fence (or, nowadays, take the train which also isnt connected to a street as far as I remember). Between the face value issue and the lack of REALLY IMPORTANT worldbuilding, like - I will always come back to this - THE INK TANK'S FUNCTION 10 YEARS DOWN THE LINE - there's a goddamn ocean of plot holes and things that end up being obstacles to creativity rather than inspiration. I feel like I'm pretty solidly at the point (and have been for a while) where hanging onto Splatoon is really only contributing to creativity block and frustration with lack of freedom and the ability to actually do things.

So I guess those are my reasonings that I've put together just sitting here for the time being. The TL;DR is that I wish I could just do stuff without Splatoon's canon getting in the way, which is a really stupid problem to have if you're making Splatoon OCs. I feel this frustration extremely strongly every time I have to work with actual bigger aspects of the world; we still don't have an Inkopolis map, we don't know what the world around Inkopolis looks like, we don't know what the wilderness is like aside from Just Normal Forest and Desert and very few snippets as to what modern wildlife MIGHT be, I still don't know how the fuck the Inklings teleport to the goddamn arctic ocean to play a turf war at Shipshape Cargo co. These are all actually really important things if you're trying to establish a setting in any kind of storytelling that's outside of immediate city bounds (and even there, you need to know the layout of the city and its important areas). Also a fucking mutant bear and a baby salmon and a squid not wearing suitable gear went to space and fought on a rocket in space. These are some things that would give me peace of mind to not have to deal with in my own writing, probably.

So where do we go from here? Unsure. I haven't really made a decision on this front yet, though right now I'm leaning more towards actually going ahead with trying to do my own thing. That will result in obvious design and setting changes for my OCs whenever I get around to it. This blog probably won't go anywhere (again, unless I impulse delete it during a mood swing like i've almost done on like three separate occasions this year), but it will probably get less use, and I will probably end up making a new blog to post about whatever I end up doing once I get to a point where it feels like it makes sense. There's a chance that I will delete this blog and put all the interesting stuff on an archive blog for the people who are here just for the worldbuilding. My actual true passion for a long time now hasn't even been Splatoon anymore, it's just been cephalopods. I'm kind of done having Splatoon get in the way of the cephalopods, as thankful as I am that it introduced me to them...

If you read this to the end heres a treat for you = 🍪

[wszczebrzyszynie]

i know this has more than a year but i really can't find it in your blog, did you ever talk about the endings in your horror rpg maker hc au?

well i thought i did and then it turns out i didnt? and then it turns out neither me or @makowcy (co creator of all my aus ever) kept any text about it whatsoever because we discussed it all live durning the last days of school which was also a heatwave. and now we dont remember. so here is what we think we meant? at least things we managed to piece together on a 1.5 hour phone call. well have some never released mycelium RPG au art as well somewhere under the cut. first one made by aku. geniuely what made you remember that its been over a year now and there were only two loose idea posts about it. well do whatever you want with this

there were probably 5 endings, each corresponding to one of the characters (except for jimmy who dies early on and is a wake up call of sorts for grian)

pearl ending (bad ending) - pearl kills grian (player character) in the bossfight, wins and destroys the earth in her attempt to eradicate mycelium the martyn ending (neutral ending) - grian beats pearl (doesnt kill her) and becomes the personification of infection/mycelium (he is always the one to deal the final blow, as that is what ascends him to godhood. martyn knows this, hes using him as a sacrificial lamb); he becomes mother spore and gets backstabbed by martyn, who then kills him permamently using the special item we simply called "the weapon", which saves the earth from the mycelium apocalypse

big b ending (attainable through high relationship points with him) - martyn dies (somehow), grian doesnt become mother spore and instead gets mercy killed by him before the infection finishes him off. there is no pearl fight. he sets off to manually purify the earth as that is the power he has as what we called "pearls paladin" for simplicity

mother spore ending (attainable through high relationship points with martyn) - plays off normally, except martyn hesitates before killing grian (now mother spore), ending in his failure and death. mother spore is the last one left and infection thrives

scar ending (attainable through high relationship points with him): well this one is tricky as scar is a 4th wall breaking character. he knows whats going on at all times and that it is a game. to get it you need to get high relationship points with him, but also play the game at least once - otherwise things get awkward as he "doesnt really know you (grian and/or the player)". The choices required to gather the points go against every other character, and the correct answers to his dialogue options would be hidden in the game files somewhere; in general scar would have a "notebook" in the game files talking about different things. his relationship points dont reset with every savefile reset. once all requirements are met he can be invited into the party, but he declines and instead gives grian "the weapon", which he uses to permamently kill pearl, which also ends the world for everyone except grian and scar. i remember that scar considers it the good ending, because it takes a lot of preparation and therefore its an active choice grian/you make to make it happen, so its just... exactly what grian/you wanted

[naamahdarling]

You should see it. It isn't worth the risk of not seeing it if it's something that you might even remotely enjoy. Especially based on what one person says, no matter how much you admire or trust them.

He can dislike it, but if the unicorn had been buddy-movie grateful, disney-movie emotional, it would have been a very different, very shallow, MUCH worse movie. Like just, really really bad.

She's not bitchy or catty or cruel, she literally does not understand humans or their drive or their big emotions. She doesn't feel love, she doesn't feel regret. She doesn't have ambition, she doesn't desire or benefit from change. She barely wants anything. She's complete by herself. She is content.

She can't be ungrateful unless you expect what is essentially a...a kind of immortal spirit, a place, a forest in the shape of a creature, to be in any way at all human. She can't be a deity, that's an extremely human concept, but she is not a normal living thing in any regard whatsoever.

The entire point of the movie is change, and truth. Front to back, it is change and truth, and the destruction of illusions, and surviving it, and the toll that takes, and the gifts it can bring. It's full of tremendous and intense, unthinkable, incomprehensible, destructive, renewing, life-altering change. And also truth, and the unraveling of illusions, which are everywhere in the narrative, and are almost always dangerous, or hiding something that is.

The unicorn unravels everything around her by being the catalyst for change, and it is incredibly destructive. Things come apart around her. It leads to good things, usually, but it breaks everything first.

She changes on the road, she learns to care about humans enough to help them, to save their lives, and that is very much an expression of gratitude.

She just doesn't care about the wizard questing for greatness. It is irrelevant. Glory is useless. And she's right.

She doesn't experience a fundamental alteration of her nature until she is forcibly changed against her will to survive, and it is not a positive change. It ruins her. It is a tremendous trauma that leaves her empty and broken, and eventually, partly and unnaturally human. She keeps losing what she was, and it is tragic and painful to watch. Why would she be grateful for that? She wishes she had died.

She finally develops something like love, but only after she has forgotten much of what she was. Then she desperately grasps onto it as something to replace what she lost.

Her encroaching humanity is killing what she was (her first response to being human was absolute visceral terror at having a mortal, and thus actively dying, body) a trauma response that allows her to survive, to hide. An illusion.

Love is an attempt to make peace with it all, and it is beautiful enough, but also empty. You are never meant to cheer for it. Only feel for them both. It's a sticking point for some people that the romance isn't done well. It isn't meant to feel right. They leaned on it a little hard in the movie, the book does it better, but it was a "kids' movie" (it isn't) so that was a little inevitable.

Change destroys everything, and it breaks everything.

At the end, when she changes back, who is it she appears to, to acknowledge what happened? And who is it she visits and touches and loves and says goodbye to? She is grateful.

The movie/book does exactly what it set out to do, and I have to say that I don't necessarily trust the judgment of people who dismiss it out of hand.

Yes, I saw it young, in the theater, so I imprinted, but it has been a radically different movie at different parts of my life. I've identified with every character in different phases of my life, so it has had the depth to stand up to easily over a hundred viewings by a half dozen versions of myself. I know people have their issues with the style of animation which, whatever, I think it's gorgeous and I also don't consider that a reason to dismiss an otherwise good movie or show (I really dislike the animation style of Gravity Falls, actually, it bores the crap out of me, but that isn't the point). But the story itself is not like anything else I've ever seen.

If you get it, you get it. If you don't, you don't. But wanting her to be grateful and kind is...really super duper extremely not the point, and would actually be antithetical to it and ruin the story as it is. And it's missing the ways she expresses those things. If that's what you take away, that she is somehow morally deficient, you literally did not understand it, or you haven't seen it, or you have a take so radically divergent from mine I am probably incapable of understanding it.

It is so, so good.

Following the author of The Last Unicorn on Facebook is the only thing that makes being on that site worthwhile.

(source)

[tossawary]

I'm reviewing episode transcripts from "Merlin" to build up my worldbuilding document (character list, mostly) and, a little ways into S2, I'm kind of feeling like the show is actually quite mean to Arthur as a character sometimes? S1 E14: "To Kill the King" is one of those episodes where I forget how badly it pissed me off until I run into it again.

Like, don't get me wrong, Arthur can be a bully, entitled, hotheaded, and reckless, but he's also at this point risked his own life to save people multiple times. Both individuals whose lives were "worth less" than his own (getting the Mortaeus flower for a poisoned Merlin, smuggling Mordred out of the city, protecting Ealdor from bandits) and also Camelot as a whole (fighting the plague-causing monster in the sewers, fighting the mam-eating griffin, drinking poison to lift the unicorn curse).

Arthur is giving me vibes of being both bored and frustrated (and probably not able to name those feelings or exactly why he has them) because he wants so badly to do good things, but he's not really sure how to go about it because (no one ever tells him anything, he almost NEVER knows what's really going on to make informed choices, and) he's also stuck under the thumb of his tyrannical father, who spends most of their scenes together berating Arthur for being too merciful, for not being dutiful enough, and/or not finding sorcerers for execution fast enough. When Arthur tries to be fair-minded and compassionate, Uther often essentially tells him that he's going to be a weak king with that attitude.

Arthur's pathways to betterment are limited, his parent and role model and boss here is an AWFUL person, but he's trying!

So, it's quite frustrating to get to this one episode where characters like Gaius (extremely biased, admittedly, clearly not an objective individual) are saying things like: "Arthur's not ready. The responsibility would be too great. Brave though he may be, he lacks experience, he lacks judgement."

Like, I don't know, Arthur may be only 21 and kind of a dipshit, but I personally think he'd still do a better job than the guy who tried to kill a kid (Mordred) just for existing a few episodes ago? Maybe? Gwen's father, who wasn't even a sorcerer or knowingly working with one, is dead explicitly because of Uther's awful laws. Did everyone in this episode forget that Uther tried to BURN GWEN ALIVE AT THE STAKE not that long ago (Episode 3)?

ARTHUR: "[Morgana]'s right, Father. You hear the word magic, you no longer listen."

UTHER: "You saw it for yourself. She used enchantments."

ARTHUR: "Yes, maybe. But to save her dying father, that doesn't make [Gwen] guilty of creating a plague. One's the act of, of kindness, of love, the other of evil. I don't believe evil's in this girl's heart."

UTHER: "I have witnessed what witchcraft can do. I have suffered at its hand. I cannot take that chance. If there is the slightest doubt about this girl, she must die or the whole kingdom may perish."

ARTHUR: "I understand that."

UTHER: "One day you may become King. Then you will understand. Such decisions must be made. There are dark forces that threaten this kingdom."

ARTHUR: "I know. Witchcraft is an evil, father. So is injustice. Yes, I am yet to be King, and I don't know what kind of king I will be, but I do have a sense of the kind of Camelot I would wish to live in. It would be where the punishment fits the crime."

UTHER: "I fear you're right. She's played with fire, and sadly she must die by fire."

When the adult druid (Cerdan) accompanying Mordred is killed (Episode 8), Arthur objects afterwards! On his own! While Arthur is sometimes an active participant in Uther's tyranny and otherwise complicit, he's been told all of his life that magic is inherently evil and corrupting, he was raised by the very man spreading this hateful philosophy, he should probably hate magic more than anyone after Uther, and yet he still disagrees with Uther's methods and judgments. Even though Uther is apparently VERY willing to lock both his son (Episode 4) and his ward (Episode 8) in the dungeons for disagreeing with him and disobeying him!

ARTHUR: The Druid was only in Camelot to collect supplies. He meant no harm. Is it necessary to execute him?

UTHER: Absolutely necessary. Those who use magic cannot be tolerated.

ARTHUR: The Druids are a peaceful people.

UTHER: Given the chance, they would return magic to the kingdom. They preach peace, but conspire against me. We cannot appear weak.

ARTHUR: Showing mercy can be a sign of strength.

UTHER: Our enemies will not see it that way. We have a responsibility to protect this kingdom. Executing the Druid will send out a clear message. Find the boy. Search every inch of the city.

Obviously, running a kingdom is complicated! Uther apparently won Camelot by conquest and is in conflict with many of the neighboring kings, including Odin and Cenred, and likely has more of the respect of the local nobility than young Arthur does. Uther's death would create some instability! (Agravaine de Bois hasn't been created yet, but let's assume there are many other potential vultures.)

But the show generally isn't pushing that angle. This isn't really about smooth transitions of power. Personally, concerning Arthur's "lack of judgment", I do find his ready conviction that it is his duty to die for Camelot's honor if necessary (he says as much to Merlin explicitly before fighting Valiant in Episode 2, then again before fighting the Black Knight in Episode 9) more than a little concerning, but that doesn't seem to be angle pushed here either.

The show has characters (Merlin, Gwen, Gaius) suggesting that offing the King, who regularly kills innocent people whether they have magic or not, who has forbidden use of the tool that might have saved innocent people from Nimueh's plague or the wraith of Tristan de Bois, would be wrong! It would be murder and murder is bad! It would make (in the words of a grieving Gwen) her "just as bad" as him.

Even though Merlin has at this point already killed Aulfric and Sophia (Episode 7), as well as Mary Collins (Episode 1) because they were trying to kill Arthur. And arguably got an assist with Valiant (Episode 2). And will kill many more as the show goes on. This conversation with Kilgharrah in S1 E14 is in many ways so, so funny:

KILGHARRAH: Well, young warlock, what is it you come to ask of me?

MERLIN: I need your help.

KILGHARRAH: Of course you do, but this time, will you heed my words?

MERLIN: The sorcerer Tauren is plotting to kill the King. He's made an ally of Morgana. I don't know what to do!

KILGHARRAH: Do… nothing.

MERLIN: What do you mean? If I do nothing, Uther will die.

KILGHARRAH: Don't you want Uther dead? It is Uther that persecutes you and your kind, Merlin. It is Uther that murders the innocent…

MERLIN: But surely that doesn't make it right to kill him.

KILGHARRAH: Only if Uther dies can magic return to the land. Only if Uther dies will you be free, Merlin. Uther's reign is at an end. Let Arthur's reign begin. Fulfil your destiny!

[The dragon flies off.]

MERLIN: Wait! Where does it say my destiny includes murder?

KILGHARRAH: Free this land from tyranny, Merlin! Free us all!

I feel for Kilgharrah here. He was VERY straightforward. I don't know how he could have been clearer about this.

I won't say that Merlin's character writing doesn't make ANY sense here (I do think the character writing in this show is NOT amazingly consistent), because... he IS being influenced by Gaius, who is, unfortunately, a bootlicker and also probably extremely traumatized by all of the death he's seen (big contributor of the bootlicking) (also, apparently Gaius only becomes a "freeman" at the end of Episode 6, so there's that). And Merlin is also being heavily influenced by Arthur, who loves his father, despite everything. For Arthur's sake, if no one else's, Merlin will go out of his way to save Uther. Sure! That tracks!

Merlin spends a lot of time in this show protecting a terrible status quo under some assumption that Camelot will... somehow suddenly become better under Arthur? Instead of perhaps eventually just trusting Arthur and talking to him after their years of knowing each other? There are several, in-world reasons for this and I don't think they're all unrealistic! It's tense! It's thrilling sometimes!

(Though I am ultimately a little annoyed that Merlin's many secrets never really come out and get dealt with by the characters, because that would have been fun drama and some resolution to all the tension, even if the story did still end in death.)

There's some tasty tragedy in this silly show, in many ways. Merlin is confused and conflicted and scared and without clear guidance in many ways. Kilgharrah is mysterious and not at all reassuring. Gaius is complacent and (very reasonably) incredibly secretive. Merlin doesn't get to see many of the moments where Arthur speaks up for magical people and tries to talk Uther down. Morgana and Arthur are both stuck here in a "The hands that cradled you are covered in an unimaginable amount of blood." "But they cradled me, yes?" nightmare scenario. (There's also a sexist element where male characters like Gaius and Merlin won't let Morgana know about her own powers "for her own good" in a gaslight-y way that's fascinating to me in how it creates a villain.)

But, also, the compelling tragic elements here don't make certain episodes any less frustrating to watch in their execution. (I don't think villains being frustrating to watch or read necessarily makes them effective villains, especially when what I really find annoying here is the heroes' reactions to the villain. Uther has killed SO MANY PEOPLE! FOR NO REASON!) Especially when a lot of the overall results of this show often feel more accidental than purposeful. I do understand why the writers keep Uther around! He's a formidable antagonist to have looming all over the place and the actor is fun.

But OOF, I felt that "Do... Nothing".

Merlin! MERLIN! LISTEN TO THE SCARY DRAGON! MERLIN, REMEMBER THAT TIME UTHER TRIED TO BURN GWEN ALIVE??? JUST BECAUSE GWEN IS TOO NICE TO GO AFTER UTHER WITH A KNIFE AND TAKE REVENGE, IT DOESN'T ACTUALLY MEAN KILLING HIM MAKES YOU "JUST AS BAD"!!! MERLIN!!! YOU HAVE ALREADY MURDERED MULTIPLE PEOPLE WHO KILLED WAY LESS PEOPLE THAN UTHER!!!

In Episode 4, Morgana says to Uther: "You can't chain [Arthur] up every time he disagrees with you." This implies to me that Uther has had Arthur thrown in the dungeons before. In Episode 3, Arthur says to Morgana: "Father will slam us both in chains if he knew I'd endangered you," and maybe he wasn't at all joking with that? Arthur is rattling the bars of his cell here, apparently fairly ready to be aimed wherever Merlin points him, bucking against being aimed at innocents by his tyrant of a father.

But nooo, Gaius says Arthur is "not ready yet" because...??? He seems less hotheaded than Uther to me, honestly. Are his tax policies not up to par yet? You can hire a guy for that. Suggesting that Arthur would be in any way worse than His Majesty "Anyone Who Talks To A Sorcerer Gets Executed Even If They Didn't Know They Were A Sorcerer" feels quite mean to Arthur, really. I think he'd do alright, in comparison, Gaius who lies to the King every single day, but I suppose you sometimes want to be a loyal friend to good ol' King "Made Merlin Drink Poison That One Time And Wouldn't Let Anyone Go Get The Cure". Good for you. Bad for everyone else.

Like, I know, I know this show is not very deep. I like that all of the characters are flawed and fumble a lot! I even kind of enjoy that it ultimately ends in death with so many loose emotional threads. It is a weekly burst of fantasy nonsense that is not especially concerned with consistency in worldbuilding or characters from episode to episode. But the executive discrepancies here are, like the ones in "Star Wars", weirdly fascinating with all of the holes and wobbly bits it creates.

This show: "Yes, our hero has once again saved the tyrannical king who kills innocents! Preventing the oblivious prince from assuming the throne and trying to do better as he so clearly wants to do! Good work, Merlin, taking the high road (which involved murdering the rightfully angry people trying to kill the tyrannical king) again!"

Me, every time: "...I am genuinely not sure how the show wants us to interpret this. What did they think they were doing with this? Was this always meant to be a tragedy from the first season? Because personally, I'm getting some kind of tragedy from this."

[nouverx]

Guys maybe it's time for me to introduce my ocs 💥

Lehti is my main oc and the protagonist!! I created him in 2019 and he's the one I drew the most in my life. He's a human, though he doesn't look like one. He's very ostracised from society because of his appearance and his disability, the other humans even want him dead for reasons I can't really explain yet. He can't have any real job so he lives of thievery and decided to actively become a menace to society as vengeance 😈

Melek is his sign language translator/interpretor! She is his voice and his ears. She was an homeless orphan, he took her in and provides her housing and food in exchange of her services. She follows him around everywhere to translate everything for him. She wears a mask because helping out Lehti one way or another is seen as treason and is punishable by death by the other humans, so he makes her wear it to protect her identity.

At first their relationship was only transactional, with time they became more like siblings.

Maybe one day I'll turn those ocs into a real fantasy story, who knows

Some more rambling about my ocs teehee

Lehti is very fun but also enigmatic. He doesn't seem to mind being a wanted man, even pulls of the theatrics when he's being chased. He's very similar to Lupin the Third in that regard, very playful, loves the attention and likes to taunt and have fun while thieving. He has very low empathy and doesn't really get sad or angry easily. It's like "Oh everyone wants me dead for no reason? Fun!" kind of chaotic neutral. He does have a darker/more sadistic side sometimes when interacting with the humans, so he might be motivated by vengeance in a deeper level 🤷 who knows

Also he's transmasc!! If that wasn't obvious enough lol. Medical transition isn't a thing in their fantasy universe, but it's ok he's not dysphoric or anything. He gets misgendered a lot but Melek is the only one who hears it and she always corrects people so it's a win for him

I don't usually take the time to post or talk about my ocs because I always end up brainrotting about something else, I really want to try and draw them more!

Melek on the other hand is very timid. She doesn't speak much outside of her job and was really just following him around like a shadow at the beginning. She didn't really have any goal in life before and was just surviving, now that she has a more "secure" situation (aka not having to worry about food or housing anymore), she's learning how to enjoy life again and even create a future for herself. I love her and she's a character that I'd love to develop more!

[eilaafterhours]

HEATED [Xavier]

Content: Smut, Misuse of Evols, Oral Sex, Dirty Talk, Dom/Sub Undertones, Mating Press, Xavier has a Big Dick, Penis in Vagina Sex, Breeding Kink, Coming Inside, Come Eating, Vaginal Fingering, Cunnilingus, Creampie, Lactation Kink, AFAB Reader, POV Second Person, Reader-Insert

Pronouns: None (AFAB)

Reblogs: Let me know that you enjoy my work and want to see more, so don’t forget to like and reblog (and comment in the tags. I love seeing people’s rambles in the tags)!

Remember: I’ll block you if I catch your ageless or under age (not 18+) ass in my activity! 2130 blocked and counting :)

This work’s concepts, plot and original characters are my own which means I do not allow any sort of creative theft nor do I allow my work to be entered into any sort of A.I. bots. Thank you for respecting my space and boundaries.

You thought that the situation with the cats would stop at the ears, tail and slight change of mannerisms. However, despite this being a sudden yet common occurrence, your Evol resonated with the cat’s, and now you had a grown man in heat ready to bend you over in the streets. 

You struggled to get him home, but managed. The moment you closed the door, he dragged you into the the living room and threw you on the couch. Dropping to his knees, he shoved the skirt of your dress away, revealing the wet patch of your panties and stockings. 

“Can I? Please?” He asked as he nuzzled against your thigh, hands fumbling with his belt. 

You wanted to move to the bedroom, to give him more room to move, but seeing his dick already hard and red as pre-cum drooled from the tip. 

“Okay, sure. Lemme just—” The second you gave him consent, a quick flash of light blinded you, and your heated lower half suddenly felt a lot cooler. “Xavier—fuck!” He had already thrown your legs over his shoulder before shoving his tongue in your cunt. 

“You’re so wet. All for me…” Whispered to your glistening folds, followed by the filthy symphony of your folds conducted by his tongue.

You couldn’t hold back from singing for him. “Mmmh…fuc—ah…” 

The heated haze that clouded his mind was not indulgent. He was not eating you out as a means of foreplay, but because he needed to get you off. He needed his cum to mix with yours, be he knew that he would not last in your tight heat. 

So when you did come, he wasted no time in adjusting your position. Though, he still had enough sense to ask for your permission (despite having you on your back, with your thighs pressed against your chest). 

“Can I come inside?” He was already rubbing against your folds, quickly gathering enough of your slick to easily glide against it. “Please, Master?”

His thick tail was thumping against the edge of the couch. His cat ears were flat against his head, while his human ones were a burning red along with the rest of his face. He was pouting, and you could have sworn that the moonlight had reflected against the tears lining his waterline. 

How could you ever say no to him, when you were oh so very willing?

You beckoned him closer with a finger, “Come closer, Xavier.” Once he was in reach, you snatched him by the tie, licking the shell of his red ear before commanding him. “Please your master well, Xavier.”

He whimpered, his bucking against you, and it took everything in you to not ruin your moment and moan. That all fell apart the moment he entered, however. You understood why Xavier threw his head back and groaned—that was his heat working on him. 

You, on the other hand, did not expect the change in size. Not that you were complaining—of course not—but how could something so big slide in so easily. 

There was no rhythm or reason to the movement of his hips. He was simply racing to reach his peak. It wasn’t a far race, since he had patiently taken care of you before himself.  

The snap of his hips were pounding sloppily into when he asked, “I wanna come inside—can I? Please, Master?” 

“Ah—Are you asking to breed your master, Xavier?” Your hands found his cat ears, smirking as they fluttered between your fingertips. “Shouldn’t I, as your master, be breeding you?” His words became incoherent, but you’re sure you heard a “yes, please” in there somewhere. 

You shelved the thought for now, instead granting him mercy. 

“Fill me ‘til I’m dripping.”

Finally, with your permission, did he come. Pushing himself as deep as he could, he pressed against the spot that had you breathless. Even after you had calmed from your high, he was still coming, and coming, and coming. His body made sure to follow your command to as instructed. 

But neither of you were done yet.

Far from it. 

While partaking in your combined ambrosia, his fingers played you for more. 

“Does Master’s pussy love me?” He pulled away, then pulled your folds open, watching your cunt pulse around nothing. He groaned, diving back in. Despite him coming in you, both of you were ready for him to do it again. 

But he wanted more of your juices before he filled you to the brim again.  

Shoving three fingers into your cunt, he curled them, making sure to assault that spongy spot. You didn’t have enough time to realize what exactly he had pulled from you until his mouth had clamped back on your cunt. 

“Xavier, what the fuck—” Your eyes widen. Despite his face being dripping in your slick, his blue eyes were glazed with that heat.

He was not yet satisfied, and you were becoming more sure that you were being influenced by his heat because you weren’t either.

He didn’t even bother wiping the slick from his chin as he aligned himself, but then he paused and blinked.

“...milk…”

Another flash of light and you were completely exposed to him, your dress split in two on the floor (the stockings were staying on, however). Now, he was sitting up against the couch with you on his dick (when the hell had that happened).

One hand groped one breast while his mouth worked the other, and his hips thrusting into you. 

You were a mess,

but not as much as him.

“If you’re pregnant, you’ll have milk, won’t you, Master?” He sucked hard on your nipple, trying to pull the nonexistent milk from it. “If you get pregnant, can I drink your milk, please?”

You knew you didn’t want kids now in your life, but the way he was talking seriously had you thinking about it. 

Unconsciously, you clench around him. 

And that was your reckoning. 

There was only one thing on his mind:

Feel the heat of your cunt around his dick, let its vice grip milk him for everything he’s got and more.

One good snap of his hips had you coming, and him rambling, damn near praying to you. 

“Yes, fuck! Yes, Master! Milk me for everything! It’s all yours, everything I’ve fucken—fuck! Let me fill you—I’ll make sure my Master is filled up so good…” 

A prayer so deprived that you were sure it was one-of-a-kind.

“Can—shit—can I come in you again? Right after this? I…I wanna see how it looks. Your puffy pussy still wanting more even after I’ve got you leaking out my cum—Fuck! Fuck—Y’ll let me clean you up, right? Let me go done on you one last time?” At the end of that deprived man’s prayer, his gaze met yours.

You closed your eyes, resigned. Who were you to deny your kitten’s deepest desires.

“I want them to hear me beyond the Deepspace, Xavier.”

“Yes, Master.”

Breeding Kink with no uterus? More likely than you think!

Now that my uterus is gone, you'll probably be reading more from me from now on (not my own uterus being my ovaries fucking inhibitor LMAO (FUCK THAT UTERUS THO IT WAS TRYING TO KILL ME, THAT BITCH).

Anyway, shout out @/javacat person on Twitter for making me insane. Let's also thank my usual possession for the Master shit to come out, that shit blindsided me (a lot of this fic blindsided me tbfh).

I might try to do something with the other three but DO NOT HOLD ME TO IT.

Anyway, oh wait chile, I just realized I was supposed to quote the last thing he says in his kindled. SEE, SEE! THIS IS HOW BAD THE POSSESSION GETS. Head in fucking hands.

Edit: I'd like to thank my bestie for reminding me to add "Come Eating" tag SKSKSKSKSKSKSK

Masterlist

[dawnthekitty]

Men who believe they are the superior sex feel entitled to actually being better than women in any way that they think matters, and when they aren't they act like women just successfully living their lives are doing so to maliciously 'outdo' them. They will take women being better paid, better at sports, better situated in their careers as a personal attack, as a theft of prestige, and lash out against the woman who are better than him in particular and at women as a class. It's the dumbass report who actively undermines you then goes to a strip club after work or the uneducated cousin that talks down about your degree and harasses women with PUA shit.

The only thing men like this are rebelling against is reality- that having a penis does not make you more competent, or smarter, it just makes you more likely to be a threat. These guys refuse to give up the fantasy so they hate women for being real people instead of supporting characters.

"Maybe white men wouldn't have overwhelmingly voted for Trump if it wasn't for feminists telling them they're bad all the time!!1!!" Weird how everything men do ends up being women's fault somehow

[sufferu]

I think Subaru just feels that if he was born a girl life would have been easier since he wouldn't have to deal with the expectations as the first son

The thing is: Subaru gets a genuine sense of joy out of dressing as a woman. His entire presentation undergoes this massive shift. He becomes more confident, he thinks he’s prettier, he’s outwardly flirtatious — and even when he’s not, uh, “in uniform,” he genuinely loves making dresses, and styling hair, and playing with makeup. It gets to the point where, before he learns ANYTHING else, Rem remarks that his sewing skills are “top notch” — simply because he enjoys it so much that it’s where he dedicated all his time. Plus, there are all these little hints in the LN about how he misses being a cute, androgynous child who could be easily mistaken for a girl (even saying that the years have not been kind to him, which is a very strange way for a totally cis guy to reference puberty), and how he cried when his hair was shaved off, and how he prides himself on the old nickname “Princess of the Ice.” And even when basically nobody wants him dressed as a woman in Arc 7, he keeps making excuses to not change clothes, and EVERYONE takes it that way. And also he refers to Natsumi as his ideal self. This isn’t just him doing what’s easiest: he LIKES this.

Plus like — if you want to talk about characters leaning into an opposite gendered persona due to feeling that they can’t live up to their gender’s expectations…Ferris is right there. And Ferris very specifically foils Subaru in ways that are incredibly pointed. Ferris presents as a girl specifically for Crusch’s sake, while every time Subaru dresses as Natsumi he’s like the only one who actually enjoys it (sans Emilia, who has been very pointedly left out of the reveal that Natsumi == Subaru, and who uniquely shows pretty much zero contempt for his crossdressing habit in the one failed loop side story where she does find out about it). Ferris has to go through this entire morning routine of “getting into character” every day in order to be Crusch’s Cute Little Ferri-chan, Subaru slips into Natsumi’s persona so easily that he has to actively fight AGAINST it. Ferris dresses almost solely in a singular outfit that’s basically his Ferri-chan uniform (complete with a collar and a bell), Subaru has this whole love for styling different outfits practically every time he dresses as Natsumi. Hell — symbolically, Ferris is a nickname for a very traditionally masculine given name (Felix) while Subaru has been referenced many times as having a name that is explicitly androgynous (the implications of this can be debated but as it is I’m pretty certain it was intentional on Tappei’s part). It’s like a Whole Thing.

(And also — we already Had the whole “Subaru struggling with the pressures of being Kenichi’s son” thing. It’s what the whole First Trial was about him overcoming. So why is Natsumi becoming More prevalent as the story goes on, if it’s just an extension of that?)

(And if it really IS an extension of that prior problem, why do we STILL very pointedly not know what happened that day when he got found out? With Subaru going out of his way to shadow it as “a very traumatic event for me that I have spent a significant amount of time processing and struggling to overcome” while never revealing what actually went down — it’s be kind of anticlimactic for something like that to be revealed as just — an extension of a conflict that already got revealed and resolved ages ago.)

[faretheeoscar]

Poe Dameron and Mae Tal

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Mind you if I infofump a little on my OC's backstory and maybe tell you about her dynamics with Poe?

My Star Wars OC character, Mae, is part of Clan Tal, a clan that was thought to be extinguished after the events of "The night of a Thousand Tears "

[ The Night of a Thousand Tears was the night on which the Galactic Empire massacred the Mandalorian people on the planet Mandalore during the Great Purge of Mandalore ]

Mae’s grandfather, Ebbel, survived the massacre on Mandalore. He was off-planet on Concordia at the time, attempting to infiltrate the ranks of the Death Watch. After the tragedy on Mandalore, he chose to remain on Concordia, helping raise the Children of the Watch. Believing they were the last Mandalorian survivors, Ebbel dedicated himself to the safety of the group.

Later in life, Ebbel had several children, including Mae’s father, Drex Tal. Raised within the strict orthodoxy of the Children of the Watch, Drex eventually left the group when he met Lyra, a Rebel pilot with whom he fell in love. The two settled on Lyra’s home planet, Ferrix, serving as backup for the Alliance, but living mostly a normal life. they had four children together, including their only daughter, Mae.

Mae grew up on Ferrix, far from the main traditions of the Children of the Watch. However, her father Drex still trained her in their Mandalorian ways, while Lyra passed down her knowledge of piloting. When Lyra fell ill and passed away, Drex withdrew from active duty in the Alliance, as it had never been his primary fight.

As a result, Mae had little involvement with the Resistance when it rose against the First Order—until much later. Trying to earn money for a new ship, she initially served as a double agent for the First Order but was eventually recruited by a faction of the Resistance on the Outer Rim. Mae’s unique skills as a Mandalorian pilot quickly attracted attention, and she was soon stationed at the Yavin IV base, reporting directly to Leia during the events of The Force Awakens. There, she met Poe.

Mae and Poe clash constantly, their personalities polar opposites in nearly every way. Poe is exasperated by her contradictory actions and unconventional methods, while Mae despises his hotheaded impulsiveness. They bicker and argue frequently; Mae often disobeys his direct orders, yet somehow manages to get the job done efficiently each time. This only irritates Poe further, and he finds ways to tease her in return, like joking that he can always tell when she’s approaching the hangar because her armor sounds like a “parade of clanking cans.”

There's a lot of story between Poe and Mae, that happens along the fight of the Resistance against the First Order and afterwards.

Its's sort of a Co-pilots to Friends to Situationship to Semi Enemies to Lovers thing (it's very freaking complicated,ngl.)

Anyways… I’ve never actually written down a summary of Mae’s backstory or a quick outline of how she interacts with Poe, so this was really fun.

I was just planning to post it without much context, but once I started writing, I couldn’t stop hehe

I did this sketch a few months ago, but I wanted to share it, while I keep working on other Poevember things and requests!

Thanks for reading my ramblings if you got until here!

HAPPY POEVEMBER!

Reblogs and comments are kindly appreciated!

@silvernight-m @ierofrnkk @howellatme @winniethewife

[jeeyuns]

walk with me y'all: chim sees how much buck's sad sack state improves each time he babysits or does activities with jee (because she's obviously made up of the BEST parts of a buckley and a han, be SO forreal) and casually schedules for buck to come over on friday for the newly minted 'han household holiday hullabaloo'

wherein the hans and one mopey buck get to snacking on appropriately-themed holiday food while watching 'the santa clause'. jee falls asleep before the next movie on the meticulous list chimney put together begins: 'love actually'. he gets a side eye from BOTH maddie and buck for slightly different reasons but then maddie gets up to quickly put jee to bed (this is apparently buck's first time watching the movie, even though it's tommy's fa-)

and buck is looking slightly less dour while bill nighy keeps flubbing 'christmas is all around'. he gets pulled into the charm of the 10 different plotlines surrounding heartbreak and wonder around love and christmas. around the 7th time chimney surreptitiously glances over, buck has a faintly whimsical look on his face while writer jamie stiffly learns portuguese in the crowded night languages class and tries to hide his smile. he MAY be a little too transparent because maddie nudges him hard with her toes

the patented hyperfocused state that chim has seen buck get into at times over the years gradually seeps in in the way his posture changes and his eyes track the grand gestures playing out on screen over the swell of the sweeping score. the popcorn bowl in his lap has been neglected for the past 12 minutes and chimney ALMOST wants to trade it for jee's tiny sparkly princess clipboard just to see if buck will start taking down the notes he so obviously has running rampant through his brain

chimney holds back a full-belly, knee slapping laugh until after buck goes through the song and dance of leaving, trying and failing to hide just how unfocused on the present he is, thoughts thousands of miles and 20-odd years away with the characters from the movie. he tells buck to text them when he's home and turns around to maddie's long-suffering eye roll and affectionate kiss on the nose before she sashays off to her own nighttime routine

he waits until AFTER he's cleaned up the living room and kitchen after their weekly movie night (he has restraint!) to open up the text thread he has with tommy. right below the read receipt to his "You called him Buck!?" he writes:

"I'm telling you this because I'm one of your long-term friends who knows you try to hide how surprises can make you feel uncomfortable no matter how much you try to hide how grateful you are of the act.

Buck is probably going to awkwardly Andrew Lincoln you Keira Knightley christmas carolers style OR earnestly Colin Firth you Portuguese cafe style. You're welcome and now you owe me double-time for saving your life.

'Just in cases' xoxo"

[k-ru-h]

god i absolutely agree with everything you said SO MUCH. going back to garashir analysis lmao, i think a major reason why their dynamic works so well is because of how ultimately similar they are. one of them is dramatic, outwardly confident but deeply insecure, really proud of their skills, extremely passionate about their hobbies, hiding a giant secret that could ruin their lives if revealed and the other is uhhhhh. exactly that lmao.

the fun thing about star trek is that the "autistic people like it" stereotype is fully justified, because by fucking god, i can't think of a franchise with a higher percent of autistic coded characters. the reason garak knows when to stop pushing julian best is because julian knows when to stop pushing garak too - the only time he actively puts his foot down and demands explanations of his trauma from garak is in the wire, where its literally a life or death situation - and even then he only demands explanations about the implant itself, and lets garak be as avoidant as he wants otherwise.

i feel like julians trauma had no real way to heal outside of this dynamic tho - as you said, nobody else on the ship is available to fill that role. especially considering how censors tried to minimize his screentime with garak by the end. he couldnt have talked to a therapist before being revealed as augmented, and he couldnt have talked to the therapist afterwards because he was desperately trying to sleep with them, lmao. this gets into the weird forced dynamic with him and ezri but by god i cannot get into that today lmao.

either way i think the little spinoff series sidding and andy made are exactly what we needed because they show a healthy and happy julian. yay

Julian Bashir walks a very fine, maddening line between “self-loathing imposter syndrome who knows almost everyone who speaks to him for more than a minute finds him insufferable” and “incredibly self assured and annoyingly arrogant to the point of a minor god complex”.

He knows he’s attractive, he thinks he’s charming as all hell, he knows he’s the smartest person in the room (while also being acutely aware he’s going to put his foot in his mouth any second now), and he just swings wildly between “I don’t deserve anything I have, none of this is mine, my life is not my own, I am a monster” and “HELL YEAH LOOK HOW COOL AND SMART I AM GUYS ARE YOU LOOKING ARE YOU LOOKING”.

And then there’s episodes that reveal that underneath that annoying arrogance, at the very core of who he is, he really, really just wants to help people, and if he fucks that up he WILL take it personally and hold himself responsible even if there’s no way he could have known and like. Can you imagine what his first patient death was like for him. Can you imagine what a fucking nightmare his brain must be 24/7.

He is somehow as inherently self assured as he is in need of constant validation for his ego because you can SEE him break a little when that ego fails him, even a little, and it’s just.

He’s very fun to write. I hate him. (I love him so much, but oh my god.)