#vessel to showcase these characters

[the-halfling-prince]

₳₮ ₮ⱧɆ Ɇ₦Đ Ø₣ ₮ⱧɆ ⱤØ₳Đ

Character info under the cut

This group of six recent high school graduates just wanted to go on a road trip before they all went their separate ways for college. Yeah that didn't work out very well.

1- Vanja Tsui. 18. She/Her. Third generation Chinese American. Planning on majoring in literature. Deaf (wears a cochlear implant). The coolest person you'll ever know.

2- Rebekah Rothschild. 18. She/Her. Jewish. Plays the violin. Probably knows math. Gay disaster.

3- Tristán Serrano. 18. He/Him. The one with a driver's license. Doesn't know how he ended up best friends with five weirdos. Still loves them all.

4- Aleksanteri Rinne. 17. He/Him. Transmasc. Classic loser boy. Soon to be art student. Childhood best friend with Tristán.

5- Eugénie Perreault. 17. She/Her. Has a band where she plays drums. Has ten pairs of tinted sunglasses. Is color blind.

6- Mick Santinera. 19. She/Her. Plays guitar and sings in Eugénie's band. The worst™. Short. No one knows what Mick is short for. Michelle? Mikayla? Whatever.

[reksink]

Quick Pens of Fylik 💚

[thought--bubble]

Things We Cannot Change

Dark Aemond X (Strong Niece Reader)

Warnings Below

Word Count: 1,938

Aemond (Canon Era) Masterlist

Full Masterlist

Banners & Dividers by @arcielee

Based on THIS request

Warnings:: Reader's hair is brown. That's the only descriptor due to the request received, Breeding kink, Targcest, Virginity Loss. Mental abuse, mentions of character deaths.

On your knees.

A place you thought you would never be, but alas here you are. On your knees looking up at the cold, cruel face of your uncle.

Once a boy you played with, read with, considered a friend. Now, he holds the life of your youngest brother in his hands. The only member of your family you have left.

"I ask you, Aemond-" He interrupts you with a cruel chuckle.

"King Aemond, my dear"

You cringe at the title. The war that ravaged both of your families put him on that throne. The thought of all you had lost made you sick.

"I ask you, your grace, to please spare my brother and I. There are so few of valyrian blood left." You keep your head bowed, your knees aching against the cold stone beneath them.

The both of you go quiet, you could still smell your mothers burning flesh, hear her screams as she was scorched and eaten alive in front of your very eyes. All for nothing, you thought. Your entire family is dead for Aemond to be the one to ascend the throne.

Your mother had been executed immediately, no court, no trial, just a woman and a dragon. Aegon II had demanded that you be executed as well, but luckily for you, he did not survive the trip back to the capital. Thus, your younger brother and you had been delivered to Aemond as traitors.

Followers of the false queen is what Aegon II had called you. Worthy of a public execution.

"On that front, we can agree bastard" He places his fingers delicately under your chin and tilts your face up towards him.

"I fear that dragon riders may become a thing that history boasts about if we are not careful in our decisions." He rubs his thumb gently across your bottom lip.

"So you and I shall marry, to preserve the bloodline," you audibly gasp at the absurd statement. You were now a mere strong bastard not fit to be queen.

"B-but your grace, I have been stripped of all royal titles. Surely I am not worthy to marry the King"

"You are not." he says curtly."But, preserving our dragon blood is of higher importance than that of courtly titles." He removes his hand from your chin and steps back, clasping his hands behind his back.

"The choice is yours, dear niece. Marry me or face the blade. If not to breed you, I have no further use of you."

You gulp audibly as your eyes begin to well. "I shall serve my duty to the realm your grace."

The betrothal was announced to the realm with mixed reactions. Some houses understand the reasoning others are very upset that a bastard would be queen and not one of their highborn daughters.

All concerns fell upon deaf ears because Aemond knew what he wanted, and he wanted you. As king, he would have exactly what he wanted.

Your life changed very little after the announcement of the betrothal. You were given chambers instead of being in the dungeons, but you were not trusted.

You were escorted everywhere you went, and the incoming title of Queen did little to garner you any respect.

Everyone knew what you were. A vessel to breed valyrian blooded babies and nothing more.

What was worse was the embarrassment.

Aemond made sure to embarrass you at any opportunity. He would have you serve him at meal times instead of servants. Pull his bath for him. Even perform his ridiculous hair care routine. All of it meant to demean you.

You had hoped that after the wedding, he would stop this disgusting showcase and allow you at least a modicum of comfort, but even in that thought, you were mistaken.

After the two of you had been escorted to your marriage chambers and left alone, Aemond ordered you to pour his wine and stand in the corner. Once again, as if you were a servant and the treatment had finally become too much for you to bare.

"I'll take the sword," you say after moments of silence have fallen between you.

"Pardon?" Aemond lifts an eyebrow and looks up at you.

"I will take the sword, i do not wish to live this way for years and years." You stand with conviction. "I ask only that you spare Aegon so that he might have children in the future."

Aemond chuckles and sips his wine. "The offer has expired, dear wife. You are mine now, to toy with as I please."

"I was kind to you!" The words almost echo throughout the room. The connotation is clear.

"You were." He simply nods and continues to look into your eyes, no clear expression on his face.

"Then why do you treat me like this? Like a-" You search your mind for the words but come up empty.

"Like a traitor? Because you are a traitor. You knew the laws of the world in which you live. You did not at any time attempt to talk my dear sister out of war, did you?" He stands up from his chair and stalks towards you.

"My sister Helaena took her own life, my nephews murdered in the cruelest of fashions." His breath is heavy as he glares at you with his one eye. "You were complicit in their deaths. How should i treat you?"

"As if I lost nothing? You killed Luke. You weren't complicit in it. You did it with your own hand!" You can feel your rage bubbling up in your chest and try to suppress it to no avail.

"You killed Rhaenys and Daemon. There is far more dragon blood on your hands than mine. " You regret the words as soon as you say them, expecting his wrath to be swift and harsh.

He clicks his tongue and looks away from you. "That may be true, but there will not be anymore dragon blood spilled by me. Least of all yours."

He walks toward you but stops when he sees you backing away from him and sighs. "There are things we can not change. The war. The losses we suffered." He continues to advance on you but moves much more slowly.

"Although I believe I can change this, your fear of me."

"I am not afraid." You attempt to sound convincing, yet the shake to your voice gives you away.

"Let me try," He says gently as he gets close enough to cup your face. "This needn't be a marriage filled with fear and hate. We are all that is left of the house of the dragon. Let us rebuild, together"

Your heart cramps in your chest at his words and soft demeanor. This is the Aemond you remember. The boy who was always gentle with you, kind. Not the monster who murdered your brother and countless others in a ruthless pursuit for the throne.

"I have known fear. I do not wish to spend the remainder of my days being the cause of yours." He presses his forehead to yours and kisses the tip of your nose.

"Will you stop? The public shaming?" A tear trickles down your cheek at the thought of continuing to live in this manner. The abuses mounting, the shame unbearable.

"Yes. twill not happen again." He takes your face in his hands and lifts until your eyes meet. "This i swear."

He gently kisses your cheek where the tears have started to fall.

"We have all shed enough tears for a thousand lifetimes." He wipes a tear from your other cheek with his thumbs. "No more."

He pulls you close to his chest, gently swaying from side to side. "Shhh." He tries to comfort you as he strokes your hair.

He very softly brings his lips to yours and whispers. "Let me be more than the monster, I implore you."

You press your lips to him in desperation. Do you love him? No.

Will you ever truly trust or forgive him? Most likely not, but you want to feel something. Anything other than the dull ache that you have carried in your chest since the day Luke died.

If Aemond was aware of your true feelings, he did not let on. He reciprocated your neediness with hungry kisses of his own before lifting you and carrying you over to the bed chamber.

"I always wanted you to be my wife," He admits between kisses. "Always"

You choose not to respond, instead pulling at his clothes. He drops you down onto the bed and rucks up your skirts. Pulling your small clothes down quickly.

"Close your eyes," He whispers huskily, kissing up your inner thigh. You comply with his demands, closing your eyes and turning your mind off. Surrendering entirely to the physical sensations you are experiencing.

He brings his hand to your heat, pushing you open before bringing his tongue down upon you. The feeling is overwhelming at first, and you can't help but cry out.

He tightly grips your thigh as he nudges his nose against your clit, running his tongue along your tight entrance. Never before have you felt something like this and as if your body is controlled by an invisible force your hips buck up towards his face.

He chuckles and grips your hips, holding you in place. "Patience my love, patience" He circles your clit with his tongue, the gentle flicking driving you to near madness.

"Oh gods," you bite your bottom lip as an unfamiliar pressure builds up in your lower stomach. "Aemond!" You clench at the bedsheets beneath you, the breath tight in your lungs as a searing fire moves throughout your entire being.

"Gods!" You arch your back as the feeling hits a peak before dropping back on the bed, your breath coming out in short huffs.

Aemond chuckles as he removes his breeches his hard cock slapping against his stomach. "Im going to fill you with my babes and everything will be better."

He moves on top of you prodding your entrance with the tip of his cock. "Hold onto me, this may hurt for just a moment" He warns, gentleness in his voice.

You head his warning, wrapping your hands around his back, as he begins to push into you, the stretch painful, not excruciatingly so but shocking nonetheless.

"eeeek," you can't help the slight screech that escapes your throat.

"Shhhh, it is alright." He comforts while he continues pushing into you until his hips meet yours.

"Are you alright?" He asks, his breathing labored.

You are ok. The pain, the fullness. It is something, and after so long of feeling nothing, the something, even if it is pain, is relieving.

He thrusts his hips against you, steadily increasing his pace. "You will be with child soon. We will be happy then, " He huffs.

You close your eyes and hold his head to you as he buries his face in your neck gently kissing at the sensitive skin there, and for the first time since the war began you feel calm.

His grip on you tightens as he buries himself to the hilt in you again. "We will be happy. we will" he grunts into your ear as the pressure once again builds up in your lower stomach.

As the two of you reach your peaks together, trembling and smiling you allow yourself to believe.

Even if just for a moment. That he is right. He is telling the truth.

That even after so much death and loss, the house of the dragon can stand tall and be happy once again.

To be added to taglists click HERE

[marvelandsupernaturalarelovers]

I just love how Supernatural started as a show where it was supposed to showcase Sam Winchester, from a monter hunter family that went astray from his father's wishes (or whatever) leaving his brother behind to create his own future. Ok. Good premise and all.

BUT HOW DO YOU FROM HAVING THIS Sam Winchester: the made antichrist; the kid with the demon blood, the One True Vessel for Lucifer, Satan himself.

To Dean taking the spotlight almost every single season.

Sam Winchester went from being the protagonist, the main story revolving around him to being co-protagonist (and even side character) with his own brother.

Its truly fascinating how that story progressed into that. I been re watching and I had to keep reminding myself that yeah, the og storyline was about Sam and his main struggles in the hunter's life and not Dean and his love of pie.

[fangswbenefits]

getting this off my chest

I really, really love writing for this fandom.

I think I haven't felt like this in years.

Astarion is such an enticing vessel for my creativity and has rekindled my joy for writing and putting it out there.

Alas, imposter syndrome really gnaws at my nerves more often than I care to admit.

"But Ruby, you have so many people who like your work. Why do you doubt yourself?"

Because I grew up being told I was never enough. That I was the worst at what I did best, which back then was learning English and surrounding myself in the language, hence why I sought comfort in fanfiction.

My sister, whom I love dearly, is an English teacher. She would be so harsh on me, and I know she meant well. She really did. But it was so hard back then. I would come to her with creative writing in English and she would just roll her eyes and tell me I wasn't good enough.

Nowadays, she acknowledges that I am more proficient than her and more at ease with the language, and even tells my nephew to study English with me instead.

But back then, I needed someone to believe I could do better.

So, there is a part of me that is proud that I am able to deal with real-life fatigue by writing and finding enjoyment in this hobby. But a much darker part of me tells me I'm not worthy and that I simply got lucky.

The Arrangement means a lot to me. I tend to dive right into fandoms and start writing for the character that caught my eye.

But I couldn't do that for Astarion... I am still unsure why. For those of you who have been here from my Miguel O'Hara days or when I first started posting about Astarion, you'll know The Arrangement was the first thing I ever posted for him.

Took me 2 weeks to get the first chapter out because I kept thinking I couldn't find a voice for Astarion. One that felt like him. After all, I'm always a step behind because I am not a native speaker. There will always be that looming feeling that I can't convey this story properly.

Even if you now know me for my Astarion smut, that wasn't even the driving force of my love for him.

It took me 2 months to feel comfortable writing smut for him. Why? I don't even know.

But The Arrangement feels different.

I love writing it and I love taking my liberties with the plot.

It's my opportunity to fully showcase my love for him.

I know not everyone likes it. I know some of you have dropped it. Some of you will drop it. But some will walk along this path with me, and I can't stress enough how your feedback and love help keep these negative thoughts at bay.

It's an internal work, though. It is not your job to validate my writing skills. This is not what puts food on my table. I am not looking to be published. I am looking for an escape. And it's so frustrating when my mind tries to rob me of joy even when it comes to a hobby.

"If this is a hobby why does it matter what others think or if they like what you write? Just have fun. Write for yourself."

And I do write for myself, but I share my work because I am hopeful my words can make someone's day. I seek that connection I never had growing up. Perhaps it sounds silly, but it's what makes the most sense in my head.

The Arrangement should be my pride and joy even if not perfect (nothing ever is, I suppose). And I'm exhausted of not feeling proud of it. I'm tired of this vicious cycle of self-doubt.

Don't get me wrong. I love writing smut. I think that's what I'm best at (well, in my opinion). I love exploring Astarion this way, too, but...

I don't know where I'm going with this... if anyone has made it this far, thank you, and sorry for the word vomit...

[honeycreammilkshake]

If that leak is real Gege may really want a sequel that has Sukuna but NOT yuji lmao, sorry Gege, I LOVE Sukuna but Sukuna without Yuji doesn't sound good, he is a good character but the rest of the cast is.....I still don't get why it was so hard to understand the huge appeal Sukuna/Yuji duo had.

Same with Yuji without Sukuna, standard safe ending with a trio safe ending, sorry I don't like those anymore

100% with you, anon. even if you don't ship sukuita, you can't deny sukuna and yuuji had one of the most fascinating relationships between a protagonist and an antagonist.

they both hate each other so deeply, but everything between them has always been much more personal than when they're fighting others. and sukuna definitely gives yuuji special treatment. he uses kozou almost exclusively for yuuji (and the one time i believe he doesn't, he's still referring to megumi as the "other" brat) to the point where it's almost like a pet name.

and what is so interesting about this is that sukuna so dismissively calls megumi "brat," in a way that i feel is trying to disassociate yuuji from the word.

there's a reason why i think of this as the sukuita divorce era and that is mostly because of how sukuna keeps claiming to not need yuuji any more, always trying to sideline yuuji in favor of others, but he also can't seem to stop obsessing over yuuji and making everything about the guy he supposedly finds boring and worthless. sukuna goes out of his way to praise/compliment others during their fights, so that everyone but yuuji (who he only ever admires in his private thoughts) seems to get some kind of in-depth commentary on their abilities, while sukuna merely insults yuuji (rather weakly, too). it's even funnier when sukuna unironically can't stop making everything about the brat even when yuuji isn't there, because when sukuna's fighting maki he still manages to frame his admiration of her skill in a way that insults yuuji, despite the fact the boy isn't even there so why does it have any relevance at all??

not only that, but sukuna loves to torment yuuji, dragging his cruel taunting out in a way he doesn't do with others. he deliberately changes back to let yuuji see the devastation of shibuya, because sukuna understands how much the needless death of strangers and innocents impacts yuuji.

and he also makes a big deal of how little he thinks of yuuji, how unthreatening and boring the brat supposedly is to him shortly after possessing megumi's body.

what's really interesting here is how, despite a chance to kill yuuji, sukuna still doesn't. in fact, he's had multiple chances to get rid of yuuji but still he keeps the brat around. maybe he finds yuuji a more worthwhile opponent after all. maybe he even wants yuuji to remain alive till the end of it all, if only to see the brat suffer through the breaking of all his ideals.

there's also the matter of how sukuna can't keep his hands off of yuuji, almost as if he misses the closeness he had when yuuji was his vessel. it's far more intimate and physical than it needs to be.

this panel in particular really showcases sukuna's overall feelings toward yuuji. he's cradling the back of yuuji's neck, almost tenderly, as he pounds his fists relentlessly on the side of yuuji's head.

yuuji drives sukuna to such violent reactions because sukuna's on the defensive with him. they both get under each other's skin and ignite a hate far more consuming than others bring out in them.

and the way yuuji also fights sukuna is so unnecessarily up-close and physical as well.

the raw emotion of yuuji beating into sukuna, his crazy side really showing in how rough and unmerciful he is right now.

sukuna draws out the worst in yuuji just as much as sukuna arguably drew out the best in him, too. if it wasn't for swallowing that cursed finger and becoming the vessel of the king of curses, yuuji wouldn't have started down this path of working so hard to save other people's lives. as he himself said, he'd never before considered putting his own strength and talents to use helping others, and never before had he considered he might be the only person capable of doing so, but seeing how sukuna caused so much devastation and death drove yuuji into becoming a fighting force for good.

and just like sukuna brings out so many overwhelmingly strong feelings in yuuji, the boy does the same to him as well. sukuna is at turns extremely aggravated and enraged because of yuuji, and surprisingly pleased because of him as well.

sukuna can keep talking big about how uninteresting and inferior yuuji is yet the moment yuuji comes into view, sukuna is all psyched up for their fight....

he even looks excited and pleased to fight with yuuji again even though he claims to have no interest in the brat .... not fooling anyone sukuna ( -. -)

sukuna also can't seem to stand yuuji looking down on him with "pity" which sparks a much more violent reaction than he had with other people when they suggested sukuna was lonely and unfulfilled with his life, or even tried to "force" sukuna into thinking like them.

i think my biggest disappointment with this series overall is how gege chose to focus so much less on these two and their dynamic. i hated it when yuuji kept getting relegated to the sides over and over, and i also didn't like it when sukuna kept having rather pointless fights with everyone but yuuji.

the fact that yuuji suddenly wanted to offer sukuna mercy and even connect with him despite hating and despising his very being before was also such an unexpected twist that i would have loved gege to expand on and give a little more context and feeling behind.

i think, with a relationship as fascinating and complex as theirs, focusing more on it would have only made jjk even greater. but sadly, gege chose not to do that. and i feel like that why a lot of the recent chapters have been rather disappointing.

thank you so much for your ask, anon! sorry for the rant i came back with.

[melontoyo]

“You are Aasha - our final hope. Reawaken us and yield our powers. Become the new light of our lost cosmos.”

Vessel of Gods is out now! 🌠

This is my illustration-design studies graduation project, a visual concept for a character-collection game. Realized as an animated trailer, it showcases the worldbuilding, setting, character designs, as well as an illustrated story.

If you want to know more about this project and support me in the process, you can grab some cool goodies below!  🌟 art book, stickers, prints → shop link 🌟 digital art book (free download) → on itch.io 

[exo-raskreia]

More on Utahime's potential in the Shinjuku Showdown Arc

WARNING: DELULU IDEAS + MANGA SPOILERS

So, GOJO HAS RISEN 🥳 (potentially). We'll see in the next chapter or so 😥. There are several ways this could've happened. In this post, however, I will mostly focus on Utahime.

(My reaction to chapter 260 at end of post)

Chapter 259 once again showcased flashbacks of the other characters strategizing against Sukuna, except for Gojo, Utahime, Gakuganji & Ijichi. At this point, one's inclined to believe that team was up to something during the time-skip. It's getting too obvious now.

In this post, I talked about Utahime's potential role in Gojo's revival and/or maybe have another equally important role in this arc.

While some ideas still stand, I thought of some others.

• One of my delulu theories was that Utahime & team could summon Sukuna with his 20th finger to a new vessel (maybe back to Yuuji) or maybe do something else with it, & I just got the idea that what if it's with Nobara's help? With Todo's return & the strange imagery in that recent MV for the opening of the Phantom Parade mobile game, "Avant" by Eve, which potentially foreshadows Gojo's return, & even shows Nobara's Straw Doll CT, Sukuna's new domain, etc., could it be Nobara will return as well? Could she use her Resonance on Sukuna's 20th finger, as it was revealed in 259 that Yuuji's & Sukuna's souls are still connected? (As of right now, it's possible Yuuta may be storing the finger inside Rika, so I wonder about the retrieval of it...)

Another possibility is what if they were doing something with the Prism Realm? That MV showed a bunch of those boxes with creepy eyes, like Sukuna's... What if Gojo's "special training" that he mentioned in 223 had to do with that? Like, maybe his team found a way to train in the box, as time flies differently? Or they were figuring out a way to seal Sukuna? In that same MV, we see paper seals on the boxes, so what if Utahime, as a shrine maiden, made them? Is it possible the team found or created more than one Prism, or something similar?

One thing that worries me is that the only ones who know about Yaga's secret CT are Gakuganji & Gojo. It hasn't been brought up again so... Were they planning something with that? Related to Gojo or maybe Nobara? I don't like the implications, though...

Because of that lingering connection between Sukuna & Yuuji, it seems like Sukuna was able to be a step ahead of everyone due to seeing/sensing all the sorcerers' plans that Yuuji had been a part of during the time-skip. Now, we know that Todo had kept his comeback secret from Yuuji so as not to alert Sukuna. Which could mean...that Utahime's CT was also kept a secret from Yuuji.

Sukuna still doesn't know about it. We know that Yuuji never knew about it while harboring Sukuna, & it seems that this was kept from him even during the time-skip? So, it means that he had no idea what Gojo was planning for his initial attack nor what else he was potentially doing during the time-skip.

Was this Gojo's idea? Did he just want to show off their 200% Hollow Purple? Is it because Utahime is a trump card? And/or is it to protect Utahime? (oof, Gojo, if that's so, we see u~ 👀)

To add to this, we got some recent content that makes me wonder if something regarding Utahime's character may actually happen. This is all mere wishful thinking speculation, of course.

• In the upcoming JJK exhibition (summer 2024), Gege is releasing some rough drafts from the manga & will apparently elaborate on his creative process when making them. One of them is the "You cryin'?" scene from chapter 65.

Out of all his rough drafts, he chose this one as one of the main ones for promo... 👀

In the original text here, Gojo said, "You're weak, so don't go on business trips too often." /OR "You're weak, so don't push yourself too hard."

(translation varies. Here, here, & here for further context)

The text seems to imply that Gojo didn't want Utahime to go so far away for missions (she was 3 hours away by train from Tokyo), or that she shouldn't take on such dangerous missions. Is it because he wouldn't be able to get to her sooner if she needed help, since at the time, he couldn't teleport yet? 👀

Gege changed it to "I came to save you" in the official release. Why, though? We could still tell Gojo was worried for Utahime due to him leaving the supervisor & his teammates behind to go save her from the mansion, forgetting to put up the curtain, & using Blue (which at the time, was exhausting to use) while managing to leave her unscathed. Did Gege think Gojo's concern for Utahime would be too obvious with the original text, though? 😏

• The characters got some updates on their profiles for the upcoming 4th character popularity poll. However, while most of the others got some slight changes, Utahime's only reiterates that she's a very good singer.

(Used Google Translate)

(We wish Gege would just give us more info on her but oh well 😮‍💨...)

Even this article finds the brief description strange.

Why did Gege bring this up again? Why not simply say she's a very good dancer instead, as we now know? He had said in the 2021 fanbook that her singing is a huge part of her CT, but we have yet to see it in action (unless the chanting for her 120% counted?). Some people had already lost hope that we'd get it, so is he implying that it's still something to look forward to? That her VA, Yoko Hikasa's singing talent, won't actually go to waste in the future? That Utahime still has a role to play? 👀

• On April 2, in order to commemorate Vol. 26 of the manga (containing infamous chapter 236), Shounen Jump uploaded a lofi video to their official YouTube channel in which we see edited versions of Gojo's memories. These mysterious edits have made people theorize that Gojo's memories have become a distorted mess in his brain, which is implied to be damaged in his (potentially) current state between life & death.

Utahime & Shoko appear with Gojo in one of the images.

Both girls have been theorized to help bring back Gojo. Utahime seems to be the focal point here, however, while Shoko is more in the background. Her appearance is that of her & Gojo's phone call scene, which had lasted 3min 41s in the anime (341, guys). Why is Utahime more prominent to him here, instead of his former teammate & closest friend?

(Full delulu) Could this be foreshadowing that Utahime will be the one to call Gojo back from the airport? That she will use her singing to reach him? Lure him like a siren or something? Or, like I said before in my aforementioned delulu post, does her singing have healing abilities?

Got the idea from this post that in the edit, it's like Gojo's heading (north) towards the girls, & since Utahime is at the center (of Gojo's distorted memory, mind u 😌), could it be implying she really will be the key to help guide him back? While Shoko is busy healing him?

AND SO...onto chapter 260:

GOJO HAS RISEN?! 🤩

(Gege, u better not be playing... Sukuna better not be hallucinating or smth...😑)

Right now, the Binding Vow theory seems the most popular, & while I don't like it, it's still possible. However, would this discredit the theory that Shoko healed him? And/or that Utahime buffed her? Maybe not. Shoko did say in 258 that the efficacy of her RCT can depend on the person's body/CE being healed. So, would Gojo have had to give up something, like his right eye, in order for Shoko's RCT to work, in case his CE was rejecting hers? 🤔😓

Gege will explain what's going on in the next chapters. As Gojo's return does seem rather sudden & random, it's possible it may not be official YET, but it doesn't mean it won't happen. So if this is a fluke, I do believe Gojo will return at a crucial moment.

Whether it was/will be thru a BV or with outside help, we will see. Either way, this also means that Utahime is coming back!! We'll finally see her again!! Where there is Gojo, there is Utahime. WE'RE GETTING THAT FLASHBACK, TRUST. Incredible how Gege timed this so closely with last year's chapter 222 in May, in which Gojo gets unsealed, & then in 223, Utahime reappears after a long absence WITH him. WILL GEGE DO THIS AGAIN? OH, MAN-

Ok, I know I'm fully delulu & Gege may go against all our expectations in the next chapter or so, so I'll try to keep them low. We'll see... He's not off the hook yet... 😕😫

[zebracorn-chan]

Now that's Miku Day I feel like I can say this: I'm happy people stopped thinking what Miku can and can't be because of her canon info, and on the contrary realized she can be anything you and others want her to be.

Project Sekai was probably the first "in-your-face" example, as there are present multiple Miku who have different looks and personality.

Another great example of this is Deco*27, not just because Miku has a different look in any of his songs, but also because he created comics where all his Miku interact with each other as separated characters, made two versions of his Miku 3D model and his song Manequin literally showcase what Miku is, an empty vessel everyone can interpret as they want.

And how can we forget the Project VOLTAGE, the official crossover between Miku and Pokémon where all the 18 types got their own Miku who is completely unique and unrelated to the others.

Yes guys what I'm saying is that Miku is Barbie:

Pointless to say this applies to any Vocaloid and other voice synthesizer character, hope this helps.

This is all for now, have a nice rest of your day/night and remember to stay hydrated! 🦓🦄💖💫✨

[saphireeyes9875]

You know, I love all the analyses the fandom is making about the Pristine Cut and Slay the Princess in general, but I haven't seen a lot of people talk about the nature of the Construct. Sure, we all know that the Narrator created it somehow to contain both the Long Quiet and the Shifting Mound, but the actual “fabric” of the Construct is these two gods.  An attentive eye might catch very early in a playthrough that the trees, the sky, the ground - they’re all shades of dark grey and black, with a feathery texture that is unquestionably Quiet. The new Apotheosis showcases this very well. 

But the cabin is different. It’s all light grey and white - Shifty’s colors. I believe that the most notable way this is shown is during our encounters with Shifty’s incomplete form. When we are “at the cabin”, all we can see is her mass of hands and the vessel we brought her - which implies that Shifty is the cabin itself.

And that’s fascinating to me, because the cabin is also, by the Narrator’s design, her own prison. Just as he establishes in his opening monologue that we are on a path in the woods, he also cleverly says that the Princess is within that cabin, and that if she escapes it, the world ends. And, except in the Wild, none of these two statements are ever refuted by either the Hero or the Princess, because to do so is to unravel the very fabric of their false reality.

So even though it seems like the cabin should bend to the Princess’ will, being quite literally her domain, it remains her prison in every other route.

In many Chapter 2’s, but especially in the Nightmare and the Beast, the Princess emphasizes the fact that the cabin will not let her leave - very ironic, since we’ve just seen how the interior of the cabin has been completely reshaped by the Princess’ influence.

I love this line from the Beast, because you can so clearly see how the Narrator’s beliefs have bled through the Construct. I was reminded of it the first time I played through the Princess and the Dragon, because the repetition of “this is what you deserve”, as other people pointed out, seems very much like something the Narrator would tell her.

Notably, however, the Princess can escape the cabin when you are accompanying her. On a meta-narrative level, this makes complete sense: the characters can only escape the cycle of violence they are trapped in when they work together. But within the narrative of the game, this doesn’t seem to fit with the rest of the Construct’s rules. The Narrator would never allow such a thing if he could help it, so this must be Shifty’s influence coming through, right?

And this reminds me of another two routes, the ones I’ve seen people describe as the most genre-savvy ones: the Damsel and the Tower.

I'm not sure if this voice line was cut in the final game or if I just couldn't find it when I went looking for the screenshots, but I'm pretty sure that at some point in the Damsel route, the Voice of the Hero asks why the Princess hasn’t escaped already if her shackle is so loose, and Smitten says that “we’ve yet to present her with her freedom”.

On a surface level, this seems like a pretty arrogant, even demeaning line, a trend in this chapter that robs the Damsel of her agency. On a meta-narrative level, this is commenting on how the “damsel in distress” archetype is often a shell of a character that simply exists to reward the “hero”. But I also think this hints at how the Princess, either subconsciously or by the Narrator’s influence, doesn’t believe that it’s possible for her to escape alone - and therefore, she can’t.

Tower, arguably the vessel most aware of the extent of her powers, is even clearer when she tells us that she could easily break her chains and escape the cabin - and she does so in the Apotheosis - but that’s not the story she wants to tell. As much as they yearn for freedom, all the Princesses, by their very nature as beings of perception, want to be perceived, to connect with someone… especially with the Hero, of course.

(this line makes me go feral every time btw, it's so simple and yet so effective -)

Anyway, this was a very long winded way of saying that the Narrator somehow managed to make the Shifting Mound’s “body” into her own prison (which is insane if you think about it) and she can only be freed with the Long Quiet’s help. I’m not sure if this is like, super obvious, but I still wanted to talk about it, soooo if anyone wants to add to this, I'd love to discuss more!

[starcrossedxwriter]

Oscars Night Part 2 (MBJ x Famous Black OC)

A/N: So we got Michael's Oscar win… here's Charlotte's! A little fluff and smut with our favs. This gif has nothing to do with the Oscars but he looks damn good so here we are… Enjoy!

Warning: Smut

“And here we have the insanely gorgeous star of the night, Mrs. Charlotte Elsbeth Jordan. Mrs. Jordan, how are you feeling?”

Charlotte slid her hand into Michael Strahan’s as he politely helped her step up onto the platform for her pre-show interview at the 90th Academy Awards. Her stylist had gone for full glam with her outfit, it was a bit more dramatic than she would usually go for but it hit the mark and clearly was a showstopper, which was exactly what Law believed she should be for the night. However, without her husband’s usual arm to steady her, she questioned how she even made it this far down the carpet by herself. 

“I am doing amazing, thank you! So excited to be here.” She offered him and the camera a dazzling white smile, which expertly hid the massive waves of anxiety crashing over her. 

Her eyes carefully examined the chaotic terrain of the red carpet and wondered silently how her peers sauntered down these red carpets with such ease and confidence. It was certainly not her first award show, it was not even her first time at the Oscars. It was, however, her first time as a nominee and she felt like a fawn testing out its wobbly new legs for the first time. Despite all the award shows and events she had gone to in her career, tonight felt as if she had ascended into a whole new level of terrifying. And it did not help that she had to make it through the evening without the one person who could keep her anxiety in check, the only person who knew the right words to pull her back from the edge of anxiety and doubt. 

“Well, first, you look absolutely stunning. Tonight is a huge night for you as a first-time nominee. But it could also be a significant historic night for you and the film industry. You are only one of three women nominated for Best Song and Best Actress in the same year. And you could become the second Black woman to win best actress, and the youngest person to become an EGOT in history. How does that all feel? Are you excited?” 

She let out a quick and light chuckle, “No pressure at all, right??” She paused and shrugged. “But honestly, I am trying to not think too much about all of that. I just… I just strive every day to do my best work and be the best vessel for other people’s stories that I can be. Naomi really was the embodiment of that for me. And given the reckoning that is happening across the country, but particularly in our industry over the last few years, I think Naomi’s story is too familiar for far too many people. And it has been great to see the conversations this film has started and how it really centers the journey of survivors. So I am just so proud and honored to be part of it. And while the recognition from my peers this season has been incredible, I am more happy about that. So I’m just looking forward to performing tonight and celebrating the best of the best in our industry. I try not to get too caught up in all the other stuff.” 

Her role in the indie film, Bird Set Free, was timely and deeply personal for Charlotte due to her own struggles with abuse. The film tells the story of Naomi, an aspiring songwriter who is assaulted by her boss at her part-time job. The project, loosely based on the screenwriter’s own life, followed Naomi’s journey to recovery and shed real light on the harsh impacts of trauma on survivors. With this role, Charlotte had the rare opportunity to both play the main character and dust off her songwriting skills by contributing to many of the songs showcased throughout the film. As a survivor of abuse herself, Charlotte knew her performance tonight was her moment ensure her performance of “She Used to Be Mine” reflected her character’s and her own experience overcoming trauma. She had poured all that pain from her own journey into that ballad, creating one of her most emotional songs yet. 

“That is amazing and we wish you all the best. Before you go, I do have to ask, you are missing the other Michael tonight. I know he is out promoting a little movie folks may not have heard of… just a billion dollar cultural phenomenon.” 

Charlotte’s lips curled into a soft smile, her sadness still coloring the edges though she tried to hide it. 

“Yes, Michael is promoting Black Panther with the rest of the cast overseas. I am sad my partner in crime isn’t with me but this is a historic moment for him and the entire cast so I couldn’t be prouder. And our marriage works because we both do what we love. So I know he is cheering me on.” 

She had repeated that refrain over and over to herself for the last week since Michael revealed he would have to go out of the country to promote the film and would not make it back in time for the Oscars. Work was work and Marvel required a lot of the cast to promote this historic blockbuster. But she would not lie to herself and pretend it was not still disappointing. And while she knew she could not say this to the well-intentioned reporters interviewing her, deep down today only served as a reminder of the downside to being married to a fellow actor: neither of you could be as present as you wanted or should be. 

“But,” she continued. “He sent a gorgeous bouquet of flowers and champagne for me and the team while I was getting ready. So if I can’t have him, champagne is a decent replacement.” Her light laughter was cut short by two strong hands wrapping around her waist and settling on her hips, her body pulled back into a familiar embrace. 

“Hey honey bee…” 

Charlotte whipped around, her legs almost giving out beneath her as she found her husband standing behind her. Her hands immediately ran over his arms as if she had to feel him to believe he was truly there and not a ghost. Tears sprang to her eyes as she drank him in, any and all words stolen right out of her throat.  

“W-what…. H-how?” She mumbled as he pulled her into a kiss, her interview long forgotten. The kiss was brief but she felt it, all of his whispers to relax, urges to breathe, and desires for her to enjoy her moment. 

Just a moment in his arms made Charlotte feel more at peace than she had been since she woke up this morning. She pulled back from their embrace to study him, her brain still refusing to believe he was really with her and not across the world. She could not stop the wave of lust that hit her as she took in his tux. It baffled her how he always managed to look so damn good.

“Where there’s a will…” he shrugged, smiling down at her and offering her a sly wink. She dabbed her eyes to stop the tears from falling, knowing she would never hear the end of it from her team if she ruined her makeup before the show even started.

“That is just beautiful. Safe to say you are surprised?” 

“Yes, 100%! He called me earlier, pretending he was in a whole different time zone,” her tone playfully accusatory as she poked his side. “Usually, I’m pretty hard to get a surprise over on but he definitely got me this time.” 

Michael leaned over and offered a quick peck on her nose, Charlotte’s face scrunching up as she blushed. 

“You two are definitely going to be relationship goals by the end of the show. Michael, it’s always great to see you and best of luck, Charlotte.” 

Given they had not seen much of each other in the last two months since Charlotte was doing Oscar’s press and Michael was promoting the film, the pair found it difficult to keep their hands off each other as they finished the rest of the carpet. With Michael’s calming presence by her side, Charlotte did not desire to rush through the carpet as she normally did. Instead, she savored the moment, posing and grinning and joking with Michael as photographers took their pictures. 

Charlotte found it hard not to simply stare at Michael the entire time though. Words could not describe how elated she was to have him there. She could not explain it but the outcome of the evening mattered significantly less to her now that he was by her side. Charlotte was never one to fuss over awards. The only one she had ever truly cared about winning was her Tony. After all, she had risked everything for that shot, a 20% chance at an award she dreamed about since she was old enough to have ambitions. 

She wanted the others, aimed for that status of EGOT. But she was young and knew it could take decades to do so. She wanted it, but she also knew this would not be her only chance if it did not work out. That was the reality she chose to remain grounded in. But whatever the outcome, she knew Michael would help her enjoy the night and not obsess over what was to come.

She barely had time to enjoy the first half hour of the show or Michael before she was whisked away from her front row seat to prepare for her performance. This was the only portion of the evening that did not make her nervous. Charlotte’s acting chops were only outdone by her own singing talent. Though she never wanted to a full-time singer, she always gravitated toward roles that allowed her to also sing, which is why musicals were perfect for her. It was as thoughtless as walking or breathing for her to sit at a piano and sing. She just let the words and music consume her, and the audience just melted away like ice on summer day. She could do that in her sleep.

She took one last deep breath before the curtain opened and the spotlight came down on her. She blocked out everyone and everything as she listened to the opening refrain of the song and began to sing. There were no frills or hooks in her performance tonight. It was simply her and an orchestra of all women of color behind her as she sung her heart out. She still remembered the day she wrote this song. She poured out all of the grief and regret she once felt for the pieces of her that died after her ex, the pieces she, at the time, believe she could never get back. She recalled that hopelessness as if it was still part of her, still had its claws so deeply rooted in her soul. She was no longer that woman, but that was who Naomi was when she wrote it and that song represented her and Naomi and countless survivors at their lowest points, when the road to recovery seemed too dark, when all you could do was drown in the regret of the person you weren’t in anymore. It was them at their most vulnerable and Charlotte, ever a performer, showed that with every note. 

It was not until the final note played that she came back to reality, her mind unable to ignore the standing ovation and cheers that rung out around her. Her eyes immediately fell to Michael though, whose cheers could be heard above the rest. He gave her a discrete thumbs up and mouthed, “I love you,” as the show went to commercial break and the lights went down.   

Like a well-oiled machine, she had no time to rest before she was ushered backstage and back around to her seat before the commercial break ended. She hated that her categories were among the last of the evening. She enjoyed the Oscars but sitting and waiting all night was not her idea of fun. And though it was great to see friends and people she admired win throughout the night, she could not deny that it felt as if she was dragging toward the end of the show. 

She rolled her neck and straightened up in her seat as John Legend walked up to the microphone and launched into his scripted speech. His words sounded muffled in her ears as she sat there, unable to register anything. She was sure whatever his spiel was about the importance of music in film was true but now that her category was mere moments away, all the anxiety she had pushed off was crashing over her like a tsunami. 

Her mind only checked back into reality when she heard the announcer read her name and heard a few bars from her song in the movie. She instinctively sat up and put a smile on her face, knowing the camera would be on her from that moment forward, win or lose. Her hand sat in Michael’s lap as he held her hand, his thumb rubbing soothing circles in the inside of her wrist, his nonverbal cue to relax. His grip was tight but not unwelcome as she waited to hear if she would make history. 

“And the Oscar for Best Song goes to…” Charlotte closed her eyes as she waited with bated breath, the seconds inching by as John opened that damn envelope. “Charlotte Elsbeth Jordan, She Used to Be Mine.” 

Charlotte’s face immediately fell into her hands as she heard her name, her shock paralyzing her in her seat. Everyone around her jumped up with loud applause, cheers and whistles filling her ears. It was not until Michael discreetly tugged on her arm that she broke out of her trance and stood up. She hugged him tightly and kissed him before making her way to the stage. 

After her quick obligatory hug to John as he handed her the statue, she stood in front of the mic and waited for a moment until the cheers died down. She examined the card in her hand, reading it for a moment. 

“Wow… I am honestly just in shock. Literally just wanted to read it to make sure it really said my name,” she chuckled, a few cheers and laughter breaking out as she paused, her brain moving too slow to remember her speech. 

“T-this… this is an amazing honor.” Her voice broke slightly as she continued, the weight of this moment starting to truly hit her as she spoke.“T-thank you to the Academy, it is a true honor to be recognized by one’s peers. U-Um, thank you to the entire team that worked on this song with me. It was a blessing and honor to tell this story with you. Thank you to Christina, our amazing screenwriter, for trusting us with this story, for trusting me with your story. I… I can’t think straight and left my notes at my seat so I am saying honor a lot, which is weird,” Charlotte rambled. “And now I’m rambling, everyone who knows me knows how on brand this is. So I will just say apologies to anyone I forgot. But thank you all so much. No song is created alone and I owe this to all of you for pouring your souls into this piece of art.”

“Lastly, to my dad and siblings and my friends, thank you for listening and enduring all the terrible songs I wrote when I was 10. Your unwavering support of my love for music got me here. And to my husband, thank you for all your love and dedication to me and to supporting my dreams. I love you so much. Thank you!” 

She lifted the Oscars in the air slightly and smiled before turning to walk off stage. As she passed folks backstage, everyone offered her hugs and congratulations. However, Charlotte barely registered any of it, she just let the PAs guide her where she needed to go to be back in her seat for Best Actress. She still could not believe that had truly happened. Part of her was still waiting for someone to find her and tell her it was a mistake and rip it out of her hands. She was officially an EGOT, something she had always wanted but felt so far out of reach. And it was finally hers. 

“See, I told you,” Michael whispered as she settled back into her seat. He brought her hand to his lips, kissing the that held her wedding band. “That’s why I’m always right. 

“How could I not know that by now??” She whispered as she leaned over to kiss him on the lips. And he was not wrong, Michael said every day since she was nominated that she would walk away with at least one Oscar tonight. She just had not believed him.  

“That’s what I’ve been sayin’ this whole time,” he joked. “An EGOT… man, I’m so proud of you, baby.”

They shared another deep kiss before the lights flickered, signaling that the commercial was over and the cameras were about to roll again. Charlotte’s stomach did backflips as she watched Mahershala Ali walk up to the mic. This was the award that would truly determine how she felt about this historic night. Of the two awards she was nominated for, this was the one that held more weight to her. She was proud to win Best Song, but Charlotte was the most critical of her acting. It was the craft she had to go to school for, study, and train to be her best at. She never believed she was a strong actor. And though she would not be all that disappointed if she lost, she knew it would be the affirmation she needed to finally cast all doubt aside. 

“These five women gave us performances that blew us away. From a spunky young teen to a survivor trying to rebuild her life, these performances made us laugh, made us cry, and made us question our world. These are the nominees for Best Actress.” 

Charlotte watched the reel closely, her heart filling with pride as she watched snippets from some of her own personal favorite performances from the year. This was a tough category, and Charlotte knew she would be happy to see every single woman walk away with it. She wanted it, but at least she knew it would go to someone truly deserving if she lost. Michael’s grip was now on her thigh through the slit in her dress and almost painful as she, once again, straightened up for the camera. 

“And the Oscar goes to… Charlotte Elsbeth Jordan, Bird Set Free.” 

She shook her head in disbelief but she stood up quicker this time, tears already streaming down her face. She repeated the same path toward the stage after hugging and kissing her husband.

“Wow ok, being up here a second time is kinda perfect so I can say everything I forgot the first time.” She paused as the crowd applause renewed. “U-um ok, thank you once again to the Academy. First, I want to say what a blessing it is to be even included among this insanely talented group of nominees. I want to thank the entire cast, crew, production team of this movie. I was so insanely proud to come to work each day and bring this story to life. And proud to wake up daily and portray the story of Naomi, a story that is too familiar to myself and many of us in this room and many of you watching tonight: the story of a survivor who took their power back and decided to thrive. Our world and our industry has a ways to go but I want every survivor here and watching to know that I see you, I love you, and this is for you.” She paused as the crowd applauded her. 

“Lastly, I want to thank my husband, Michael. Your…” she looked up at the ceiling for a moment as she tried to stop tears from falling. “Your love for me is unlike anything I have ever known and there isn’t enough time or enough words to adequately express how grateful I am to walk this Earth each day with you by my side and spend those days loving you and being loved by you. There has never been a dream that you have not encouraged me to chase and never been a door that you haven’t helped me push open when I doubted whether I could do it myself. I would not be here tonight if it weren’t for your unwavering belief in me.  Thank you for being you and for always encouraging me to be my fullest and most authentic self. I love you to the moon and back over and over and over again.” She blew him a kiss before smiling and offering a last broad thank you to the entire crowd before turning to exit the stage.  

From there, the night felt like a blur of congratulations, interviews, and parties. She endured all of them, the chaos and frenzy of every event, though she really just wanted to retreat to her hotel room with her husband. 

Finally, on their drive to the third after party, Charlotte said, “How committed are you to going to this party?” 

Michael raised his eyebrow and chuckled, “Tapping out already, old lady?” 

She rolled her eyes, “Shut uppppp. Seriously, you wanna just head back to the hotel?” 

Michael merely shrugged. “Not up to me, baby girl. It’s your night, Oscar winners get whatever they want for at least a week. So you’re callin’ the shots. So what do you want?” 

She tilted her head as she studied him for a moment, the lust she felt earlier in the night returning with full force now. 

She slid across the limo to sit by him, her legs straddling his hips. It was a bit dangerous in a moving car but she did not care. She leaned in and kissed him softly, before moving down to his neck. She sucked softly on his sensitive spot, smirking as a moan escaped his lips. 

“You know what I want, baby,” she whispered in his ear, his hands immediately going to grip her ass. 

“Aye, brah!” Michael called out to the driver. 

“Yes, sir?” 

“Take us back to the hotel. I’ll triple your tip if you get there within 10 minutes.”

Charlotte laughed as they continued making out like two horny 20 year olds. Charlotte willed Michael to fill her right then and there, but he refused, deciding they could wait until they got to their suite. By the time they reached their hotel, in record time thanks to their motivated driver, Charlotte’s need was so overwhelming she felt as if she might die if he did not touch her. 

The moment their suite door slammed suit, the pair were all over each other. They made quick work of removing Charlotte’s dress as they kissed hungrily, Michael pushing her body against the wall of the hotel room as he kissed every inch of skin he could find. 

Charlotte let out a small yelp as Michael hoisted her into his arms and carried her to the bed. He threw her down, immediately hooking his fingers on the small fabric of her thong and sliding it down. Michael placed a trail of soft gentle kisses slowly down her body, starting at her neck and working his way down to her soft stomach. He took special care with her breasts, his mouth engulfing her nipple as he sucked lightly. Her groans of pleasure filled his ears and spurred him on as he switched sides, ensuring he gave each equal treatment. He knew Charlotte loved nipple play and he knew exactly which buttons to press to turn her into a blubbering mess in his hands. 

By the time Michael reached her lower stomach, Charlotte was panting, her pleads for more were on the tip of her lips, her pussy aching to be touched. 

“B-baby, please,” she begged.

“Let me take care of you, honey bee,” he whispered, placing a kiss and softly biting her inner thigh. 

“You know how much I love you, Els? How fuckin’ perfect you are?” He asked as he alternated between soft kisses and gentle bites that drove Charlotte wild. Each kiss got closer and closer to Charlotte’s aching core but not close enough. 

His hands pushed her legs open, her flower already dripping wet for him. He licked his lips as he prepared for his favorite meal. 

He immediately dove between her legs, his tongue caressing her sensitive bud and causing her back to arch off the bed. 

“F-Fuck! J-just like that, baby,” she moaned as a deep shudder of pleasure racked through her body. 

Charlotte’s hands gripped the comforter as he pushed her up a mountain of pleasure. The things Michael could do with his mouth were otherworldly. Charlotte quite literally often saw stars. He knew everything there was to know about Charlotte and her body. He did not have a college degree but he had a ph.D in his honey bee. So every time he was between her legs, he made sure she was more than well taken care of, often taking her body and pleasure to new heights she could not even fathom. 

As he inserted two fingers inside her, Charlotte knew it would be one of those marathon, new heights type of evenings. Her moans and screams created a symphony throughout their hotel suite as Michael spelled out his love for her with every kiss, lick, and touch. 

Feeling how close she was to her peak, Michael increased his speed, curling his two fingers into her G-spot. 

Charlotte let out a breathless scream as Michael sent her over the edge. Her words were incoherent as waves of pleasure pulled her deeper and deeper under the surface. 

He gave her no time to recover as he continued pumping his fingers in and out of her at a relentless pace as he emerged from between her legs. He roughly pressed his lips to hers, allowing Charlotte to taste herself on his lips. 

“Just like honey,” he whispered, causing her to smile as he recalled something he said to her the first time they had sex, the genesis of his second favorite nickname for her. 

She whimpered against his lips as the pleasure became overwhelming. 

“I-It’s too much, B-Bakari,” she moaned as she felt her orgasm building again too fast and too soon. 

“Take it, baby. I know you can,” Bakari whispered in her ear, his deep voice causing Charlotte to acquiesce to his will immediately. She would do whatever he asked of her, ride the waves of whatever pleasure he was willing to give her. “You got one more, baby girl. I know you do.” 

Bakari smirked as her eyes rolled back into her head, her mouth falling open with every moan. They had been together for years and the sight of her cumming never got old to him. She looked perfect, wild and uninhibited. 

It did not take long for his expert ministrations to send her tumbling down yet another earth-shattering orgasm. 

Her vision went white as she came on his hand, Michael whispering sweet nothings to her. 

“Good girl. That’s right, cum for me, baby.” 

He finally removed his hands from inside her, watching her come back to reality. 

“You’re…a… fuckin’ menace…” she whispered after a few minutes of silence, causing Michael to chuckle. “I can’t feel my damn legs.” 

“You said you wanted me, baby girl. So I’m giving you all of me. And there’s still a lot left.” 

He gently slapped her thigh, spurring her to push herself up on her forearms. 

“Hey,” she grabbed his arm and pulled him in for a soft kiss. The entire evening had been frenzied and chaotic. She just wanted one moment that was slow and intimate, a true moment of quiet between the pair of them before the night was over. “Thank you, Bakari. Tonight was perfect. I don’t des-” 

He stopped her and captured her lips with another kiss before saying, “Aye, none of that today. You deserved every moment of it and more. I’ll never let you forget that. Now lay back down so I can keep showing you how I proud I am of you, aight?” 

She laughed and laid back on the soft comforter and nodded. “I’m all yours baby.” 

Tag list: @certifiedlesbianbaddie @reelwriter19 @bangtanxmegan @prettyisasprettydoes1306 @msniaimani @hi888888sworld @destinio1 @lynaye1993

***

AN: Bird Set Free is a fake movie, of course lol but She Used to Be Mine is a real song if folks were wondering - from the musical Waitress. I’m obsessed with it.

[howlsofbloodhounds]

what if. what if perspective of writing changed depending on what Stage killer is in.

Like. What if stage 1 is 1st person writing. I/me. And like. Stages 2 and 4 are in 3rd person, to create distant from the reader and themselves; he/she/they/it type of writing.

And stage 3 is in 1st, I/me to throw readers into this mindset that’s hard for the other characters in the story to understand bc stage 3 is a part of killer thats more. “animalistic” lets say. hiding fear and confusion and helplessness behind instinctual aggression. And occasionally sprinkles of 2nd person, you/yours/yourself to create the idea of being watched.

and stage 4 uses words like “it/its” and “the body/vessel” or “the face” to showcase the dehumanization/objectification and how it doesn’t view the vessel body as belonging to it. And is instead for chara to make use of.

or if you wanna get meta, occasionally mixed with 2nd person aka “you/yours” to give the vibe that the reader is controlling the body, and highlighting killer’s perceived lack of autonomy in stage 4. And stage 4’s inability to tell any difference between Chara or player.

Something like “it moves the legs, steps sure and steady. It realizes that you have moved the hands to the sink edges, gripping tight.

You watch as its hands shake, and it notes this for later mention—perhaps it’s soon time for maintenance, perhaps that’s why it was urged into this room. Why the hands shake, it does not know, but such is this one’s place. It understands what you want from it, it will perform.

Anything for you.”

(Could probably be written better but yall get the gist.)

and stage 2 just alternates between “the body” and or “his body.” but “the body” is to show disconnect and dissociation rather than dehumanize or objectify exactly. he is aware he still controls the body how he wants, but also that others can too. and “his body” alternates between being his, Killer’s body. Or his, Sans’ body.

and given how, in this panel:

he says he is not sans, “just has Sans’ face,” perhaps he views the body as something he stole or inherited. like how deceased parents leave things behind for children to inherit in their wills.

(Art by Rahafwabas.)

[ajwamiju]

Scene 1: 'The Queen of Modern Horror'

CW: Demons, fake blood, nothing much yet tbh

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The sky is beautiful tonight.

You stare blankly at the starless night sky, the moon hiding behind the dark grey clouds as raindrops harshly pelt your face and body, doing little to wash the blood from your body. You sigh, both in relief and exhaustion as you glance a little off to your side to see the disfigured face of the murderer of your friends, unresponsive and not breathing.

Slowly sitting up, you stare the demon that had been possessing the murderer in the face, his hand extended towards you with a grin of satisfaction and anticipation. “For thee bihofþe bæ ablæ bihofþe defeaÞ mīn vessel meanſ thee art worthī bihofþe becomæ mīn.”

You stare blankly at the demon speaking in a language you can’t understand, yet somehow you understand clearly what he is speaking. ‘For you to be able to defeat my vessel means you are worthy to become mine.’. Your gaze slowly trails to his outstretched hand and a compelling force for you to take it overwhelms you.

You look back up to the demon, your eyes unfocused and dull as if you have nothing else to live for. Before your decision can be documented, the end credits roll, leaving the ending open to the interpretation of the viewers as well as a sequel to showcase your decision.

“God, that was great,” Kasumi, your good friend and manager compliments as she leans back on the sofa and places her arm over her eyes to re-adjust from watching the movie for two whole hours. “When your and Masaki’s characters thought it was over but the movie still had half an hour left was actually a good plot twist.”

“Well, Director Ukai Senior is well-known for plot twists like that.” You comment as you stand up to turn the lights back on. “You said the critics were impressed by this movie?”

“Yeah, the movie critics were absolutely STUNNED by your acting and storyline, it’s a box office hit.” Kasumi answers as she groans from the lights turning on, readjusting her vision to the new lighting. “Director Ukai Senior wants to make a sequel, it’s going to be tough to live up to people’s expectations.”

“No, no, Kasumi. Not the professional movie critics.” You clarify as you head back to the sofa. “The online critics.”

“Oh, you mean the horror junkies making movie reviews on the internet? Loved it. Said it’s a gem in the midst of the mediocre horror movies these days.”

Your lips tug into a smile of satisfaction, when Kasumi gave you the job, you were a bit skeptical and weren’t as enthusiastic as you have a reputation to uphold as being the ‘Queen of Modern Horror’. You’re glad you trusted your gut and did the job anyway. Ukai Ikkei was a bit tough to work with since he’s strict and a bit of a perfectionist, but he seemed to have favoured you and your experience as he listened to any input you gave to the script to make it less cheesy and better.

“I’ve got to give it to Yamasaki, most script writers take offense when the actors make suggestions to the storyline to make it better but she actually took time to consider and stuff. She’ll make it far in the script writing industry.” You comment as you remind yourself of the meek girl who wrote the fantastic movie script.

“Oh yeah! The online critics also complimented her again and again for her unique storyline. They say it’s a cliche that’s made fresh.” Kasumi says with a grin. “I think she’s starting the sequel for the movie as we speak.”

“Excellent, I hope to work with her again soon.” You say as you stretch your long legs on the sofa. “What else has the internet been saying?”

“Um… most are complimenting the movie… but I guess some are kind of comparing to Ukai Junior’s new movie.” Kasumi answers, thinking back to what she’s read. “The one starring Suna Rintarou.”

“Oh, you mean the thriller-gore fiasco of a movie, ‘The Crypts’? That’s also a great movie, the genius horror director genes run in the Ukai family.” You say with a nod of approval. “Suna’s acting is also great in the movie, his role as the killer in the movie looked so realistic even I was spooked.”

“You know, you and Suna are dubbed the ‘King and Queen of Modern Horror’, it’s weird that you’ve never acted in a movie together.” Kasumi comments absentmindedly as she opens her phone to look at the incoming reviews. “I think it would be one of the best movies of the generation if you two starred in the movie together.”

“I was wondering that as well, actually. I’d love for an opportunity to act with him, like I don’t even care if I end up covering my face for the role of the antagonist, I just want to star in a movie with him.”

“I’ll try to find a role for you that also stars him. I think it’d be a good opportunity for you both.” Kasumi says with a grin.

“I will literally bow at your feet if you ever manage to do that.” You say with a laugh. “I know damn well that movie will be the talk of all media if we star in the same movie.”

“Count on me, girlie. I’ve got your back.”

That was what you said to Kasumi about three months ago, thinking that the movie you’d star in with Suna Rintarou was going to be a horror movie, as you expected. But to your horror and confusion, the script in your hand is the farthest thing from a horror movie script.

“‘Sumi… when I said I want to star in a movie with Suna Rintarou, I didn’t mean a romance drama. And a series at that!” You mutter as you re-read the script your friend handed to you.

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Taglist: @mirophobic @atrashsith @lilith412426 (Drop it here to be included in the taglist!)

[rahuratna]

Hi! I have a one am musing 🥹

I was rewatching jjk season one (I still haven’t finished season two but I need to cope LOL) and now I’m able to pick up all the little details we talked about before. *heart melts*

It’s so crazy to me how in the very beginning Nanami didn’t acknowledge Yuji as a sorcerer, and by the end, he told Yuji to be the one to take over from here. It’s so bittersweet…

Tbh, the very first time I watched that episode, I was super shocked and thought Nanami was patronizing Yuji. And then I learned that wasn’t the case. He was being very matter-of-fact about it and knows Yuji has a lot of room to grow 🥹💕💕

Yuji was super eager to prove himself to Nanami, and then Nanami was like “frankly I don’t give a shit.” But in reality, he really does as he gets to learn more about Yuji, and so while I was terribly upset with s2 ep 18, his last words were the perfect conclusion.

(This is just a side note but I like it more when writers show off Nanami’s practical-minded nature more. How it may seem cold and standoffish at first but it wasn’t intended that way. I wish I got to see more of Nanami being blunt with criticism since different people could react differently to it and it’s who he is!)

———-

I also realized that Gojo got new glasses LMAO. Didn’t see it before, but his high school ones were circular and his newer ones are more oval. I kinda glossed over it when he shops for new glasses in the “Lost in Paradise” ending. I personally like his high school sunglasses better. What about you?

Hi! And thanks for these lovely 1 am musings. It always makes my day to see one waiting for me 🤭 I also needed to take a moment to cope before moving on with season 2 (didn't help much, but necessary).

Nanami initially struck me as very contradictory, because there he was, taking a jab at the system (in his capacity as both a salaryman and as a sorcerer), saying that "work is shit", but also bowing formally to a teenager when he introduced himself and wearing a full business suit to kill curses!

I saw his lack of acknowledgement of Yuuji as another "fuck you" to the system. Here was Yuuji, a vessel to one of the most powerful curse users to ever exist, and he was essentially treating him as just another kid. I didn't necessarily see it in a good or bad light, it just struck me as a very deliberate choice on Nanami's part.

Of course, his later actions and his background showcased these things in a completely new way. Like you said, he cares a great deal for Yuuji and the younger generation of sorcerers. The fact that his last words to Yuuji were "you take it from here" is such a fitting culmination to his character arc.

He saw his duty as a guardian and protector of the young and the weak finally coming to an end, because they were now able to protect themselves better than he could. He saw Yuuji as completely fitting of carrying his legacy forward, and so let him know that he could now pass in peace.

I, also, wish we could have seen more of Nanami's interactions with others. The way Ijichi is actually more terrified of Nanami scolding him than anything else, describing him as the 'ultimate adult' or something along those lines, will never not be funny to me. Especially since Nanami is the type of man to never raise his voice in a professional setting. His pragmatic nature would probably have given us many more moments of misunderstandings, sweetness and humour, should it have been explored in greater detail.

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

As to Gojo's sunglasses, I do like the older style better! They reflected a lot of his irreverent, cheeky and offbeat personality. I suppose the oval shape is a style choice that changed as he grew older and matured, but yeah, I definitely preferred round lenses better!

[dapperrokyuu]

Alright now that I’ve seen the end Slay the Princess, who’s your favorite princess?

Ill do you even better and give you my top 5/the ones Id love to get if I played the game, just to see their sequences in the end and how itd reflect on that version of the player (literally made a list for fun just before you sent this ask, hehe).

Admittedly, a lot of this is informed by aesthetic and then enjoyment of their routes because I came into (watching Manlybadasshero play) the game after some fandom osmosis–thus, understanding I wouldnt have all my thoughts together within one playthrough. So I cant say Ive devoted my satisfactory amount of attention to speak on the princesses’ narrative presence... But I did rewatch their routes and “Thoughts on this vessel?” sections a bit to formulate a stronger opinion. Here we go...! (Buckle in, fellas, haha ha h a…)

1. Adversary/Eye of the Needle

The Adversary and the Eye of the Needle are very hand in hand imo, and I love the progression into a dragon-like appearance for the latter, especially in combination with the cabin becoming akin to a dragon���s den. This (combination of) routes stands out the most to me (as far as Manly has played) because I personally feel its the one where the princess is the most active and engaged. Whether its being beaten to death or running for one’s life, the route was very exciting for me! And it was intriguing how the princess and player felt the most on equal ground because they are both intent on pursuing some objective. Its just that in this case–and this is how this princess exceeds and is an overwhelming presence compared to the player–the princess is set on a choice they dont care to deny and the player is a creature of the habit called “deliberation,” as narrator aside, in-universe reasons aside, the very structure of Slay the Princess has taught you to constantly pause and consider your choices.

It contributes to the tone of the routes so well! Even if you can sit forever in the Outside World, the game progresses like a split second decision and/or that any time given to you is at the princess’s turbulent discretion. In a game where your choices tend to matter most (which, frankly, they do, its kind of the whole point, but you may not know that your choices are what caused this situation yet, lol), the princess seeming to supercede you and the narrative and the concept of death is!!! Powerful and quite something, lol. And poignant, considering *gestures vaguely but particularly at the Narrator*.

Otherwise, I love how theres apparently many more and amusing divergences in this route (that Manly did not showcase) and the ending is pretty cathartic. And to keep this a bit short, yadda yadda, dragon dens is where they store and protect their treasure and in this case, the treasure is fighting you, yadda yadda, as the vessel of growth, the princess’s embracing of the cycle of violence between you two is her latching onto the only avenue of growth she can perceive (as opposed to escaping–since you didnt offer that option prior–and dying since thats tend to be the stop to the concept of growth), yadda yadda- 

2. Spectre

This princess’s voicework is probably my favorite! The whispering under the regular voice acting is just really neat, doing a great job setting a tone of something delicate, chilling, and unnerving. The princess’s design shifts between cute and scary very well too! Her personality is probably my fave overall; while her “thoughts on this vessel?” section highlights her embodying kindness and understanding, they only exist to an extent that is fair. Which is, well. Fair. And I think it extra emphasizes the understanding aspect, with how the princess is aware of her circumstances and the injustices that have occurred yet is willing to let bygones be bygones. Shes coy, sincere, and pragmatically deadly, which is a full spectrum of delight for me!

The moment that really gets me regarding her character is when you say youre gonna leave her. Other decisions lead you to working together or demonstrating you have no intention to with some form of violence–both resulting in the Spectre just responding fairly. But the “leave” option truly shows that the Spectre doesnt/never intends to act out in malice, since Spectre responds out of desperation to avoid perpetual loneliness, pain, and emptiness. Theres an aspect of “fairness” here too (youre abandoning and hurting her more after having murdered her), but the choice comes after a breakdown and deliberation as opposed to an immediate retaliation. Even then, Spectre laments that she didnt want things to be this way but youve made her worse. Other stand out moments are when Spectre goes, “Youre funny when youre confused. But I didnt give you permission to touch me,” and the player’s moment of patheticness, lol. 

This route really hints onto the meta aspects of Slay the Princess too, which is neat! The whole “want to end the world” convo, Spectre just wanting to go home, reality being what is in front of us vs. static truth/objectivity, whether destruction being one thing leading into another vs. the same thing reborn, glass on the floor, and the narrator being like Spectre as a memory of a person…I dont have much to say here currently–still need to ponder, itd be a whole other conversation, Im a bit tired, lol–but its tons of food for thought that I enjoy! Yay, Spectre!

3. Prisoner

Fun fact: this is a rewriting of the extreme word vomit that was me lamenting over how I was kind of confused about the Prisoner but chose her for the sake of a 5th (note the placing change) and then discovering the absolute genius she is!!! Basically, my only exposure to the Prisoner I had was Manly’s recent playthrough, which contained (what Ill call) the Chained Together variation and didnt even have her “thoughts on this vessel?” section due to the game going into the final sequence immediately after. The Prisoner’s section in that final sequence befuddled me because I couldnt connect much other than a theme of “inevitable change,” and even when I dug up the Prisoner’s “thoughts on this vessel?” elsewhere, I couldnt put it all together…until I watched (what Ill call) the Head Trophy variation in the middle of my initial writeup.

Regarding what I enjoyed prior to recognizing genius, I really enjoyed how the Prisoner conducted herself–her curtness and resignation was very unique. Her form was created as a result of the player cutting off her arm, instilling a matter of fact-ness to her that allows her to slit the player’s throat later (got this from the Wiki, Manly didnt show this part). Upon waking up once again chained and chained even more, I interpreted the cleverness aspect from the Prisoner’s “thoughts on this vessel?” section as being able to come to terms with her situation, play along, and bid her time in hopes that her patience (that she emphasizes) would eventually reward her. After all, the Prisoner was willing to pretend she and the player met for the first time until the player prompts otherwise, even saying they dropped “playing the game”--very meta of her! Thus, I interpreted the Prisoner as the princess completely embodying/accepting her role in the game; she couldnt leave when she defied her role last time, so she was fine continuing to wait this time. As a character who realized they were a character and systematically changed their behavior to attempt a new avenue of escape, I thought that was the extent of the Prisoner’s cleverness and was satisfied…enough.

AND I WAS WRONG. DELIGHTFULLY WRONG. I assumed the Prisoner was completely fine with her potentially only means of escape becoming not one, since she didnt seem upset or disappointed. Which was frankly incorrect, as her rude curtness is a result of her being miffed with you. Why? Because her cleverness actually alludes to the fact she had a plan for escape the entire time, and you utterly fucked it up! Which, tbf, she shouldve shown more reaction than curiosity to dissuade the player, but I digress- During the Head Trophy variation, you realize that the Prisoner had a plan this entire time to deceive the Narrator and she succeeds so well because she also got me and got the player. How often do I get got? It was amazing! From the stare as the Prisoner takes the knife away from the player, to the smile before That All Happens, to the wink as it occurs and after, it may speak to an underestimation thats set up due to the Prisoner’s appearance and behavior, but reflecting on all the signs that She Planned This dismantles that perception and reaffirms that the Prisoner is a person with depth beyond what you expect from her and those in her role. As I viewed the Prisoner as a caricature of the princess’s role in the first place (the whole point is that the Prisoner is exactly like the princess in appearance except the chained/locked up aspect is exaggerated), this route is so striking for me with its interrogation of victimhood, how victims are treated/viewed, and how that may be unintentionally stripped of their personhood and reduced (into a caricature of solely “a victim”). The Prisoner puts it quite nicely when the player attacks and she “suddenly” has a ton of fight in her, stating, “Im not a damsel to be helplessly murdered!” …Im not sure if I put it into words the best, but I hope this is understandable. To top off the topic of Prisoner’s cleverness, its a neat detail (I dont know if this is intentional) that the Prisoner does the opposite of what her prior princess form did: the player cut her arm to free her last time, she cut herself out this time and the player “died” the last time, she “died” this time. Beyond recognizing there was a Narrator beyond them she should fool, the Prisoner also reasoned that since having the player kill her is likely not favorable, dying by her own hand might just be fine! The Head Trophy variation is just more poignant when you note that her “thoughts on this vessel?” section talks about how the Prisoner protected herself when others could not but for her plan to work, she has to put complete faith in another.

As 1000% better the Head Trophy variation is in the Prisoner’s route, I do have a soft spot for the Chained Together variation since, from both the Prisoner and the Narrator’s perspective, it must be a hilarious emotional rollercoaster. The Prisoner’s plan failed and shes now stuck with the loser who made it so…for potentially forever! The Narrator probably oscillates between an uneasy concession that while both gods are not dead, they are locked up forever and an utter dread that things may fall apart at any time and thus, the world is practically doomed with no way to change that. The Prisoner doesnt have to decapitate herself, which makes her freedom extra cathartic in the relief she likely felt and didnt expect…and also extra sad in how she found it was nothing but cold and is quickly taken away. Theres also something to be said about how the player joins the princess in her perspective by chaining himself up and that they both inform each other’s perspective, leading to their escape together: (1) since the princess isnt starving to death, the player also doesnt, which is a surprise to the Voices and (2) the player showing up again signaled that change is indeed possible to the princess, perhaps causing the ability for the world to erode around them. Maybe the latter is the Voices informing the player, causing the change…? But I like to think its the initial thought since the cabin could and shouldve have eroded prior to the player’s arrival, assuming the Prisoner understands the concept of erosion…which, I assume she does- Anyways, the route is as emotional as it is kind of wacky, which is up my alley!

4. Witch

This princess is the one I enjoy the most aesthetically. Im a sucker for both witches and cats, what can I say? The allusion to the fable The Scorpion and the Frog really tickles me, and ultimately, whatever decisions made in this chapter are some form of hilarious. Whether we’re both dying on the floor with broken backs or handing a blade to someone who immediately stabs you, its great. I do enjoy the progression into the Thorn chapter, especially with the immediate regret from the Witch and the following reconciliation in Thorn’s chapter, but Thorn is not as funny and aesthetically pleasing as Witch princess for me, which is why she is not here, haha.

Her “Thoughts on this vessel?” section adds a lot of depth to her, since the way the Witch presents herself is very superficial and guarded. Particularly the statement about the Witch making for a “righteous” heart, in combination with her ability to just slip out of her chains. She couldve freed herself at any time, but chose to stay and confront you. Which I feel speaks to the bitterness aspect, as the Witch feels its only “right” to pursue an answer to her pain–whether it be the player’s penance or punishment. The game’s thoughts on bitterness are made even more poignant when you realize the Witch’s ends are either death (hers and/or yours) or a transformation into another state.

5. Tower

This route is just incredibly cool in how she takes over the narrator and the little divergences of the narration’s phrasing to be in her perspective in the voiceover. The progression into that route was amusing for me to think about because I think the shift of perspective that transforms the princess boils down to either “the princess had the might of a god to have defeated you,” “your sudden stop during the fight was a blessing from god to the princess,” and/or “your sudden stop was because your recognized the value of the princess’s life as larger than your own (‘larger than life,’ referring to her bigger form as the Tower and godhood itself).” The Tower calling you disappointing is funny, but what also sticks out is how she said she wanted company before turning into the Tower. Even as the Tower with the ability to just free herself, she chose to wait for you because thats what she wanted, and I think that plays on the relational idea of “What is a god without a believer?” since she’s willing to have the player as a priest or pet, lol.

How this route differs from the Adversary route is interesting, as the Tower is indeed also an overwhelming presence whose decisions matter more than yours not because her single minded relentless pursuit of it but because of the power to overwrite yours. Its a twist on the player’s and princess’s roles until now, but instead of making them equal like in the Adversary, the roles were reversed on who decides and who is forcefully changed as a result of that decision. Of course, you cant take the ability to choose from us, as a player completely, but its about the best you can do, I imagine. And not to mention the “defiling” aspect when you slay the Tower, dragging her down from godhood to an equal (humanity?) or perhaps her original state of someone who responds to your decision as usual… I think this route connects deeply to the meta aspect of Slay the Princess, since this state is where the princess is closest to the “concept of change” and the concept of their true self as a god. It makes the “thoughts on this vessel?” section very poignant because change in itself is indeed a constantly dominant, terrifying, and arguably divine force in its inevitability.

Honorable Mention to...the Damsel!

I really like the deconstruction of her concept, but that also means I feel that liking her is completely counterintuitive to that very deconstruction, lol. Her route is very straightforward in what it does, but it kind of has to be. Meaning it does what it set out to do very well.

This took a bit and is so much more than you asked for, so thank you for your patience and acceptance. Im just bonkers and bananas, so if I have it partially done, I might as well go all the way instead of going in depth on only one, lol. It was a fun exercise in pondering deeper about the princesses and dipping my toes in the ~meta~, but I will also readily say that Im not at all nearly deep enough into Slay the Princess as a whole to be confident on my takes, so this may have just been a session of Talking Out Of My Booty. Nonetheless, I hope this was enjoyable and thank you for prompting me to think about it! The order of the princesses changed throughout this answer, and it may be fun to guess what order they were written in, lol. Id love to hear about your fave/faves if youre interested in sharing as well~! And please, have a lovely day too!!! c:

[lagunapoint]

Alright. The Veilguard. Morrigan. When she said something like, "The spirit of my mother came to me in the form of Mythal, asked for my body and mind, and I thought, 'Oh, what will happen if I refuse?' So I agreed." Morrigan. MORRIGAN. The one for whom we lugged the black grimoire so she could learn more about her mother and understand that she was right to get as far away from her as possible? 

Below is the continuation *sigh*

Morrigan, who strove for independence and feared like fire that she would become a vessel for her mother? I used to explain her desire to know all possible and impossible things as her wish to surpass her own mother. To be smarter, wiser, to learn more than she did, so that at the critical moment, Morrigan could resist Flemeth's influence. That's who Morrigan was to me. Her struggle, the strength and energy with which she became a wonderful woman, with the traumas she endured alone. But that's not important. Not important that in Veilguard, Morrigan betrays herself. Not important that decades of hatred melted like snow. Not important because she was filled with feelings for her deceased mother. 

This is a new Morrigan, not the one we knew. That's why it causes so many conflicting feelings. And that's normal, because we have a formed image in our minds, which her behavior in Veilguard completely destroys. Therefore, it creates an impression of ignoring psychological abuse, even though the game just glows with friendliness and mutual understanding. New players or those not deeply familiar with her history will understand the new Morrigan. But it's precisely new players, and players who came after Inquisition, who are the target audience. 

So... I think BioWare needed to release a game that would, overall, ride the wave of modern trends very pleasant, not frightening, without heavy moral choices, and preferably almost unrelated to other parts. The fact that Morrigan ultimately lost in her struggle is understandable to us but won't be clear to a new player, even one who came after Inquisition. And I doubt that after Veilguard someone would want to go in reverse order from Inquisition to Kirkwall to Wardens. Even just because of the graphics. 

BioWare needs to sell their cool hair physics technology so that it brings income outside of Dragon Age. And DA possibly became an excellent commercial machine for showcasing this innovation. To get as many people as possible to see this technology, the game needs to be made accessible to a wide audience, and for that, it's necessary to avoid plot twists, faction nuances, and some character traits understandable only to the fandom.