#while this was not the point of this post it does occur to me that zim would HATE being suspended

[man-i-love-fanfiction]

To Share the Space with Simple Living Things - Hozier x Fem!Florist!Reader

Chapter One: Blue Hydrangeas- Gratitude

Summary: Your job as a florist has been the highlight of your day for years. It becomes even more exciting when a certain new customer becomes a regular.

Word Count: 2286

Author's Note: Hey guys! My first multi-chapter fic, i'm so excited!!! i don't have a strict posting schedule, but I won't go more than two weeks without an update. please bear with me here because I have no idea what it's like to be a florist. I hope you all enjoy!!

p.s. special shoutout again to @deprivedmusicaljunkie for beta reading, i can't thank you enough!

fic below the cut :)

You were a part of the small minority of people who actually loved their job.

The concept of this was strange to most people — strangers making small talk, men asking introductory questions on dates, even your own parents. Maybe because it wasn’t exactly a career; more so a job that someone has as a way to make rent while getting their degree, which is how you originally began to work at Earth's Laughter Florists. College had been years ago for you now, and yet you stayed behind the counter, making bouquets for customers with a genuine smile on your face. It got to the point that when the old owner decided it was time to retire, she chose you to take over. Of course, you immediately accepted; this job was the best part of your day. While all of your friends were going insane with their office jobs, you… admittedly still went insane from time to time, just in a much prettier workplace.

You had even taken it upon yourself to learn flower language: different types of flowers having different symbolic meanings. It was almost like extra credit. It gave you a new challenge of arranging flowers while keeping both color and symbolism in mind, and helped you create bouquets and arrangements with more meaning. This, in turn, gave your customers a new incentive to buy different flowers for different occasions based on what they meant. More business for you, more smiles on people's faces, and more money in your pocket. Everyone wins.

Another benefit of the job — your favorite part — was that it gave you small glimpses into the lives of other people. Flowers had a multiplicity of sorts. They were so versatile that people bought from you for almost every occasion. Weddings, funerals, birthdays, dance recitals, you name it. It made you more appreciative of others. Every day was a new insight into whatever your customers had going on. And today was no exception.

You arrived an hour before the store opened, as usual. You went into the back and threw on your apron, adjusting your name tag. Thoughts of everything you had to do before opening ran through your head, and you quickly began to busy yourself with everything from giving some flowers new vases of water to following up on an order for a wedding. Your two coworkers came in around a half an hour after your arrival, donning their aprons, saying their hellos, and also beginning their day. When the time finally came, you flipped around the sign hanging from the door, telling everyone outside you were open. You stood behind the counter and waited.

And waited.

And waited.

One of the only downsides of your job was that it required a lot of patience.

It's not like you were just staring at the clock, biding your time until a customer entered. You still had work to get done, mostly tying up loose ends from what you didn't finish before. Your coworkers were occupied with a tall order of arrangements, so they stuck to the back, with the occasional popping in to ask if you needed assistance. Politely, you declined.

Mundane was the word that kept repeating itself in your head as you did your odd jobs around the store. Not necessarily a bad thing. In fact, mundane meant nothing horrible was occurring (even though it meant nothing was occurring). Of course, mundane never does last long.

You had just finished creating an arrangement to put on display when your first customer of the day walked in.

The bell above the door rang, and you quickly walked back over to where you were supposed to be standing, not even bothering to see who had walked in until you were behind the counter.

The first thing you noticed was that he was taller than you had expected, with long brown curls that fell down to his shoulders. His outfit, a black turtleneck, a brown leather jacket, and black jeans, was the right mix of formal and casual; you could tell he had somewhere to be, but with people that wouldn't mind if he laughed a little too loudly.

To top it all off, he was handsome. You couldn't pull your gaze from him if you tried.

He walked forward, slowly looking around at all the flowers on display until his gaze locked onto you. He broke the silence between you.

“Hello. I need some flowers.”

You maintained your composure and brushed off your previous thoughts. You started your usual routine, asking him the same questions to get to know the situation (and him) better.

“What's the occasion?”

“It's my mum’s birthday.”

“Does she have a favorite flower?” You asked. He replied with no hesitation.

“She loves hydrangeas. Blue hydrangeas. She always has.”

His immediate answer brought a small smile to your face. You nodded intently and began to think of all the possible combinations of flowers that would work well.

“You're specific. I like that. That makes my job easier. Usually guys say something like ‘I don't know’ or ‘the purple ones’ or just ‘roses’. It's like some people don't even pay attention.”

“Well, that's all I know how to do.”

“A blessing and a curse, I imagine.”

“More of a blessing, believe it or not.”

“I have a similar blessing, though it seems to be laser-focused on plants of all things.” You joked. “Speaking of plants, let me start on your bouquet.”

You left your spot, walking over to the wall of flowers on display for you to pick from. You stopped and stood next to the man, fixated on the wall as you tried to decide what flowers would go well together, in meaning and in visuals. Mumbling, you thought out loud.

“Alright. For his mother. Blue hydrangeas… that's gratitude. What can go with that?”

The customer tilted his head in confusion, clearly having heard you.

“I don't mean to interrupt, but what's with blue hydrangeas and gratitude?” He asked. Your eyes widened, and you turned to face him as you started your explanation.

“Oh, it's flower language. I learned about it to help me make more symbolic bouquets. Back in the Victorian era, people would use bouquets of flowers to convey messages they couldn't say out loud. Most of the time it was a love confession, though you could also reject someone if you picked your flora wisely. Individual flowers have meanings, too. Blue hydrangeas, your mum's favorite, symbolize gratitude. There was even a change in the meaning based on which side the ribbon was on, or if they were given upside down, and…” You cut yourself off when you realized you’d been talking for much too long, your excited expression dropping. “I’m rambling about something you definitely don't care about. I’m sorry.”

He gave you a confused look, and a small laugh of disbelief escaped him.

“What? Don't apologize. That was fascinating. I don't know if I’ll ever see flowers the same way again. In a good way, of course”

The fact that he was actually invested in what you had to say pleasantly surprised you. People — not just customers, people you actually choose to surround yourself with — would often tune you out after the first two sentences.

You knew this man for two minutes and he was already raising your standards.

“Well then, I’m happy to give you a new perspective. I’ll get started on your arrangement.”

You stepped back to get a better look at the flowers lining the walls of the room. You already had a vague idea of what you wanted, you just needed to put it into action. Hydrangeas were grabbed first, and made the focal point of the bouquet immediately. Other flowers were picked up and put down, a trial-and-error of sorts until you found which ones truly matched.

Occasionally, you looked over your shoulder to find your customer still standing there, spectating you from a few feet away. He watched you with a certain gleam in his eye, one you would attribute to admiration if you didn't know any better.

Once your selections were made, you picked out a plastic sheet and took the flowers into the back, where there was a smaller room with a much larger table surface for a workspace. The wrapping was laid out, and meticulously, flowers were laid down. Rearranged. Shifted around. After a few small touches, everything was in the exact place you wanted it.

You finally finished up, wrapping the flowers in the silver plastic and tying it up with a blue ribbon. You went back behind the counter and held the bundle of flowers up, pointing at each one as you described the meaning of each specifically selected flower.

“There's the blue hydrangeas for gratitude, white roses for loyalty and beauty, and belladonna delphinium for protection and well-being. You're basically showering your mum with compliments with this thing.”

“It's gorgeous,” he replied, the look of astonishment from before lingering on his face.

“As nature tends to be.”

“I mean, you can't argue with that, but the way you’ve arranged them, it's… stunning. She’ll love it.”

His compliment surprised you; it wasn't too often you got such a compliment for a simple bouquet. It caused your heart to flutter in your chest in a way that definitely crossed the border of the employee-customer relationship you had going on. Frightening. Maybe if you kept acting unaffected, it would magically stop.

“Let me ring you up.”

There was no true cash register, and you instead relied on a pen, a yellow legal pad, and mental math for customers’ totals. It took a moment, but you calculated what he owed you.

“That'll be $54.”

He muttered in agreement, and you watched as he reached into his coat pocket. His hand stayed there, fiddling around. After a moment, he reached the opposite hand into the opposite pocket. He felt around for a second, pulling his hands out and placing them on his hips. His content expression was replaced by one that was much more panicked.

“Shit. Shit, shit, shit!”

Your brows furrowed in confusion.

“What’s the matter?”

“I…I forgot my wallet back at my house. Do you take any online payment?”

You shook your head.

“No, sorry. We're old school. That's alright though, I can put these to the side and you can run home and get your wallet.”

He let out a frustrated sigh in response, angry more at himself than anything else.

“That's the thing. I live thirty minutes from here and I’m meeting my mum in fifteen minutes, and I have specific instructions to be on time. I might just…”

He stopped his sentence, paused, and took a deep breath to calm himself.

“I’ll find something else. Thanks for all your help, though. You have a gift.”

You caught the sincerity behind his now bitter tone, and it made your heart ache. He turned to leave and took a few steps forward. You didn't process that you had said anything until his reaction.

“Wait.”

He immediately stopped in his tracks and turned around, and you realized your impulses led you to call out for him even though you had no plan whatsoever.

Biting at your lower lip, you thought of an idea. You genuinely wanted to help this man give his mother flowers… The fact you found him attractive was merely an added bonus. Besides, the pity you felt for him overrode that. Once the metaphorical light bulb lit above your head, you spoke again, leaning in closer and lowering your voice so only he could hear.

“Okay, I’m not supposed to do this, and this definitely isn't a good business practice, but I can tell you're not just doing this to steal flowers from me, so I’ll make an exception.”

He leaned in as well with a look of intrigue. You continued to explain.

“You can take the bouquet for now, and then within… I don't know, two days, you have to pay me back. I’d just need a name and phone number so I can contact you if you don't show up.”

You snatched one of your business cards from the display and flipped it over so the blank side faces upwards, leaving a pen in front of you so he could write. He picked up the ballpoint, seemingly scribbled for a moment, and then slid the card back over to you. Written in surprisingly beautiful handwriting, you read his name aloud.

“Andrew… Nice to meet you. I’m Y/N.”

“I know.”

This caught you off guard. For a second you wondered if maybe you did accidentally give a free bouquet to a shady guy.

“Excuse me?”

Andrew’s mouth went agape as he realized the connotation behind what he said, and he quickly muttered an explanation, flustered. “Oh my god! No. Not like that. You… your name tag.”

A sigh of relief escaped your lips, and you gave him a nod.

“Right. Forgot that was there for a second. Alright, take your bouquet. Happy birthday to your mother. And remember, two days.”

He gave you a gesture showing his gratitude, pressing his hands together.

“Thank you. So much. I don’t know how I’ll repay you.” He said, grabbing the bouquet.

“Hopefully with money in two days,” you joked.

He let out a laugh.

“Money would do the trick. I’ll see you soon.”

“See you soon.”

You watched as he left, the smile of your face growing as you noticed his appreciation of the flowers you had arranged by the doorway. He paused for a moment before opening the door and leaving, and you caught him humming a tune you'd never heard before.

You hoped he would come back much sooner rather than later.

[sapphorror]

You know, Zim is actually pretty smart (relatively speaking, anyway) when it comes to holding back around his classmates and playing the helpless victim in public, even when it means taking shit from them until he can serve karmic justice indirectly. And that's a very fun character trait/surprising point of patience and competency on his part, but I do think it'd be REALLY fun if some random kid actually pissed him off enough for him to just like, snap their fucking arm in broad daylight. He wasn't even trying to severely hurt them, he just wanted to get them off of him. It's not his fault that humans are too fragile to take the most basic disarm maneuver taught to Irken smeets—and by the way, Dib did not cry NEARLY as much when Zim did the same thing to him, so it seems like this is mostly just a 'you' problem.

Naturally this line of argument does not persuade the faculty out of suspending him, but it was worth it. Dib is trying really hard not to find the situation funny lest he come off as endorsing Zim's evil, but like. The alien who physically and psychologically tortures him on a weekendly basis just hospitalized one of the assholes who'd been so convinced of his obvious harmlessness and that is, in fact, very funny. Maybe there's an upside to having a totally amoral genocide-happy Z-list supervillain at your school if Dib can watch these people suffer AND maintain his perfectly faultless moral purity.

[pride-of-storm]

first day of work and :( my feet hurt :(

[starblaster]

"but if you're pro-union, why are you anti-cop-union?" because cops are not laborers. what cops do is not labor. they are enforcers of the laws that oppress laborers and exist solely to protect capital. don't bother me with stupid questions.

🛑 STOP asking me to make the post rebloggable. i refuse to let a bunch of anticommunists, libertarian anarchists, neoliberal spooks, and other pro-cop fascists pass around their bad-faith additions on a post if i can help it (which i can, by disabling reblogs) while others of you are saying some really misguided, off-topic shit, and it’s pissing me off.

please get your facts straight before embarrassing yourselves on the internet. for fucking ONCE in your lives.

i am not “redefining labor” i SAID that cops are not LABORERS (EXPLOITED WORKERS) unionizing to receive better working conditions for the betterment of their fellow workers. they participate in collective bargaining with the express goal of subjugating and abusing the working class by protecting their fellow cops who harass, brutalize, stalk, rape, and kill the poor, homeless, working class, and other marginalized people. OTHER, ACTUAL LABOR UNIONS also use collective bargaining power to protect their members. if you argue otherwise, i’m sorry but you need to get serious and examine not only the truth about what a labor union is and does but why our purposes and missions and goals as unions are what they are. clarification aside, here, that wasn’t the fucking point of this post! the derailing and misunderstandings of what a LABOR UNION IS that occurred in the short time this post was rebloggable was too insane not to shut off reblogs!

COP unions, LIKE I SAID IN THE ORIGINAL/ABOVE POST, ARE UNIFIED IN DIAMETRIC OPPOSITION TO THE LIBERATION OF WORKERS, AS IN PEOPLE WHO DO LABOR (WHICH DOES NOT INCLUDE THE LITERAL ARMED PROTECTORS OF CAPITAL)

NO OTHER UNION BASHES, KILLS, OR ARRESTS STRIKING WORKERS LIKE COP (OR PRISON GUARD) UNIONS DO.

if you agree with the post so much that you NEED it on your blog or whatever, post a screenshot of the original post with this part cropped out and leave me the fuck alone! THANK YOUUU!!!!!!!

and to the wiseasses saying screenwriters and actors "aren't laborers, either," are you just fucking stupid actually? you think artistic labor isn’t labor? shut the fuck up.

[televinita]

(finally) watching Thor: The Dark World like "what do you mean this movie's not over. Loki's dead. He killed the big bad and sacrificed himself in the process; show's over, go home folks! Get Jane & Thor to their happily ever after kiss and roll credits. What plot nonsense could possibly happen on boring-ass earth. Cut, Stephen, cut all out."

[fairuzfan]

This post is for the anon who sent me that video asking me to debunk it's claims so they can be better equipped against accusations of antisemitism.

Sorry, I won't post the video since I refuse to have that man on my blog but I can give you common Zionist talking points and the illogicality behind it.

To preface: most of the questions Zionists will ask you are a trap, and will make you fall into a "rabbit hole" (as I was once told when I was younger), as we try to apply their reasoning. My advice is to ALWAYS center the humanity of Palestinians. For example, when a Zionist says:

"Don't Jews deserve a homeland to be safe?"

It fundamentally ignores the core issue: Palestinians are being raped, murdered, and expelled from their homes so that the establishment of this so called "homeland" may exist. When people ask this to you, I personally advise saying something like:

Why must Palestinians suffer for the establishment of this homeland?

Always recenter to the issue at hand—the inhumane removal and treatment of Palestinians.

"Palestine belongs to the Jews and Not Muslims"

The whole premise of this claim is flawed—there is a weird tendency to equate Arab/Palestinian=Muslim when it just is like. Completely untrue. There are Palestinian Christians, Bethlehem is famously a Christian city, who have been there for centuries. There are Palestinian Jews, who have been there for centuries. There are Palestinian Muslims, who have been there for centuries. My grandpa told me stories of how he would turn on lamps for his Jewish neighbors in Al-Khalil (or Hebron) during Shabbat.

To claim that Palestine is EITHER Islamic or Jewish doesn't make any sense and completely neglects the fact that dissemination of culture has occurred for centuries, as well as the intermingling of people throughout generations. To somehow assert that for some reason, Jews and Muslims did not have ANYTHING to do with each other—did not create together, did not build families together, did not build culture together, all while being PALESTINIAN—is incredibly racist and nonsensical. "Palestinian" is not a religious identity—it's a cultural and ethnic one.

Also, it does not negate the core issue—Palestinians are being killed, removed, and tortured so that others can live on that land.

"Well what about [something about partitioning land]?"

Honestly like, who cares about the partitioning throughout the 1900 and early 2000s. Sorry, I'm not going to list the whole "partitioning" history nonsense. The whole reason "Israel" exists is because of a Mass Exodus, murder, and rape of Palestinians. Everything after that is rendered obsolete.

"Well, I heard Palestinians allied with Hitler"

I don't know how to tell you this but Palestine was under British Control. No they didn't.

"Israel withdrew from the Gaza and left them to themselves and they put Hammas in charge"

Oh yeah, Israel totally left Gaza, that's why Gazans' water, electricity, internet, and food is completely controlled by Israel (this is sarcasm, Israel still controls basic life in Gaza).

Go back to centering the idea that no human deserves to be shoved into an open-air prison, starved, and controlled. Did you know that the Zionist Entity controls the amount of water Gazans receive, as well as counting their calories to ensure they don't have enough energy on a day to day basis?

"I heard Israel asked Arabs to stay"

Show them these papers and videos when they say this:

If you can't show them these videos, check in the next point what to say.

"Well the Palestinians left of their own will in 1948"

Palestinians in 1948 didn't "leave." They had heard of how the Zionist Entity was slaughtering Palestinians en masse. Women especially heard stories of rape and sexual violence. They fled from *violence*. Again, from an earlier post, that this was a calculated effort on the Zionist Entity's part to try and get them to "leave" on their own and "abandon" their houses so that they can come in and say "hey, they left on their own so, we can come in and take their houses now."

Anyways, the idea that once you leave your house you can't ever come back to it is incredibly odd to me as an argument on Zionists' part. Like if you leave your house right now to go to the grocery store and you come back and see someone in your house and they're like "sorry dude, this is my house now, you left so that means you can't come back," you'd be like, "what the hell!" It would be even weirder if everyone agreed with the guy who took your house, which is what happened to Palestinians.

In Al-Khalil, or Hebron, Palestinians always have to have someone stay in their house or else a Settler will come in and take it from them. So it still goes on today as well.

This is not a point, but when that one person in the video said "Arabs lived under Israeli rule" and showed a clip of a bustling city with mountains, I'm pretty sure that was Amman, Jordan, not Palestine lol. Those buildings in the mountains look like how downtown Amman builds the residential areas. Could be wrong tho.

"There are no Jews living under Palestinian rule in Palestine"

What is this, some sort of gotcha argument? What are they trying to prove, the racist (obviously false) notion that Palestinians hate Jews as a whole? How do they know no Palestinian Jew lives in Gaza? Also, Settlers in Palestinian Territory exist??? I had never heard this claim before, its incredibly stupid lol. You're automatically a citizen of "Israel" if you're Jewish, whether or not you live in or outside of Palestinian Territories. So of course technically they don't live under Palestinian rule, they're granted full rights as an "Israeli" citizen automatically!

Go back to talking about the inhumane treatment of Palestinians, I wouldn't bring up the above counterpoint unless they really won't let it go since the main point is mistreatment.

"Why are Christians supporting Israel then, if it's a secular issue rather than a religious one?"

Well actually for a couple reasons:

Oil interests and regional control of goods (White People Supporting White People).

Weird fundamentalist ideology where they want to enact the second coming of Christ.

And finally because they are racist and don't think Arab Christians deserve to live. They literally bombed a 1500+ year church the other day. Why would (White) Christians cosign that.

Anyways, its a stupid argument again, because it forgets the core issue of Palestinians dying and being displaced.

In summary, always go back to the point of centering the Palestinians being displaced, tortured, and murdered, no matter the argument a Zionist gives you.

[bubblegumgothglados]

This is my RACK focused judgment free primer for heavy impact play. It covers every part of the body from head to toe and at no point does it say you can’t do something just the risks of doing so. I don't normally put warnings on my posts but most of my writing is fantasy, this isn't. I'm going to talk about any number of painful deaths and heaps more ways of becoming disabled.

In this primer "you" means the one doing the hitting, "victim" is the one being hit, and "tool" is the thing you're hitting with which could be a fist, foot, hammer, bat, anything. I'm writing it this way because its fun for me.

This primer also assumes you know the different types of impacts and how they affect the body, if you don't go look at my other writings.

Finally i take no responsibility for anything you do. All this information is what i could put together from medical journals and car crash reports if I've got anything wrong (and you can prove it) please let me know.

Enjoy

Head. With hits to the head, the two major concerns are concussions and neck injuries. A concussion occurs when a person’s brain impacts with the inside of their skull, this happens because the brain is suspended in fluid so if the skull stops or starts moving suddenly the brain will move out of sync with the skull. Symptoms of concussions can include headaches, confusion, lack of coordination, memory loss, nausea, vomiting, dizziness, ringing in the ears, sleepiness, and excessive fatigue. If your victim lost consciousness for any length of time and is having trouble speaking or understanding your words, you need to get them to the ER. There is no cure for a concussion but the best treatment is pain medication and activities that won’t tax the brain to give it time to recover. There are any number of ways to damage a neck, but generally it happens when a person’s neck is moved suddenly and violently or pushed past its limit. Minor injuries should heal by themselves within a few weeks but if unlucky pain and stiffness can last months or even years. For more major injuries, physical therapy or a neck brace might be necessary but only if the pain lasts longer than a few weeks. It’s also possible to hit someone hard enough to break their neck or fracture their skull but that takes a lot of force. All of these injuries can be avoided by supporting your victim’s head and neck by bracing their head against a surface or holding their head with your hand.

Jaw. It takes surprisingly little force to dislocate a jaw, you can do so with a good slap Dislocations are talked about in Note 3 at the bottom of this primer. Heavy bleeding from gums or a tooth that feels loose could indicate a fractured root. This is a fairly minor issue and if you see a dentist quickly they should be able to fix it back in place with no lasting damage. A tooth that has been knocked out completely should survive; get your victim to rinse their mouth out and rinse the tooth off and shove it back into the gap, and then have them see a dentist to make sure it’s properly seated and avoid chewing with it for a while.

Eyes. A fun combination of fragile and complicated. There's no first aid tips I can give you and it'll be real obvious if something is wrong. I will say you don't have to hit someones eye to give them a black eye, it’s bruising around the eye socket that matters. Also check Note 1 about the use of ice when treating injuries.

Nose. It’s more difficult than you think to break a nose. You definitely can with a good punch but you'll have to really commit. A broken nose isn't that serious (I've broken mine twice now) and isn't even ER worthy. If your victim is leaning backwards after breaking their nose the blood will run down the back of their throat potentially making them vomit or very sick. There is a chance a broken nose will heal in a way that restricts breathing in which case your victim may need surgery.

Cheek bone. Below the temple but above the gum line, running from just bellow their ear to their nose. Special mention to this spot because it’s the best place to hit your victim in the head (in my opinion). This piece of bone is very sturdy and not that risky to fracture. Plus, when you hit them here they have to watch it coming.

Neck. The windpipe, jugular, cranial nerves, vagus nerve, carotid arteries, and spine all live here and damage to any of these can cause permanent disability or death. Seek medical attention if your victim has trouble breathing or swallowing, or a lot of pain or swelling. Stingy tools are far less risky here than thuddy tools.

Shoulders. Note 2 on joints. The shoulder blades can either be an ideal impact location or one of the most risky depending on how it’s sitting. If the shoulder blade is jutting out away from the rest of the back, it’s very easy to damage If it’s laying flat against the back, it’s protected by a thick layer of fat and muscle.

Biceps. Top 4 impact location. The main concern is damaging the elbow and shoulder joints, if hitting in a way that will pull on those joints. Much like with the head, bracing the impact area against a surface will minimize the risk. Repeated hits to this area can temporarily disable the arm, which is fun.

Forearm. As above, the main risk is damaging the adjoining joints. There are also several important blood vessels and nerves running through this area and not a lot of fat an muscle to protect them.

Hands. Very little fat or muscle, mostly tendons, nerves, and cartilage. See Note 2 on joints. Special note to the palm, which hurts like hell but is relatively safe because of the extra muscle and fat in that area, great for punishment. Once again, stingy tools are much less risky than thuddy tools.

Breasts/ biceps. Top 4 impact locations. Thick layers of fat, muscle, and bone protect anything vital.

Sternum. That is the bone running down the center of a person’s chest that connects to their ribs. Not in itself very fragile but the cartilage that connects it to the ribs is easily damaged and will take a long time to heal. A fractured sternum will likely cause shortness of breath and pain when taking deep breaths. There's not much to be done about these injuries just rest and avoiding strenuous activity.

Spine. The single most risky impact location. Any damage to the spine risks permanent paralysis of everything below that point. As ever, stingy tools present less risk than thuddy tools.

Rib cage. Designed to protect a person’s most vital organs, the rib cage is very strong. Fractured ribs will cause pain breathing but aren't particularly serious. Snapped ribs can pierce organs If this happens, it'll be immediately obvious and medical intervention is required to prevent painful death. Special note to the 'floating' ribs at the bottom of a persons rib cage which don't connect to the sternum and are therefore much less resilient. Second special note to the spot right above a persons heart. A significantly hard impact at exactly the wrong moment in their cardiac cycle can stop their heart. They will loose consciousness and you will need to give them CPR until they can be defibrillated. This is ridiculously unlikely but better to mention just in case.

Abdomen. If you feel around your victim’s belly, you can figure out the line where their abdominal muscles sit. If you have them tense these muscles, you can hit them fairly hard with relatively little risk because the muscles plus the fat in that area create a thick layer of protection. (Pro tip: "Stay tense or this will might kill you" is not only true but hot and terrifying). Outside of that area or if they don't tense, there's real risk of bruising or even rupturing their intestines, which carries a 50-70% survival rate depending on how quickly you can get them to the ER. Symptoms to look out for are bloating, diarrhea, loss of appetite, and fatigue. Special note to the kidneys, which sit next to the backbone just below the rib cage and are very easily bruised. The primary symptom to look for is blood when peeing. As always, stingy tools carry less risk than thuddy tools.

Gluteus maximus. That's their butt. Hit it as hard as your victim will let you. Enough has been said about this region; I don't feel the need to recover that ground. Note 4 on bruises.

Genitals. I'm not going to get into CBT, that's a separate kink. But the vagina is very durable as it’s pretty much just flesh and fat on the outside Minimal risk, go to town.

Thigh. Top 4 impact location. Outer thigh will hurt more and bruise more. As with the head and arms, the primary risk is damaging the adjoining joints. Note 4 on bruises because this is the primary place for DVT.

Calf. As above. Shins are also a great location for punishment because they hurt like hell.

Feet. Very similar to hands. The soles of a person’s foot are intended to impact with the ground frequently and with some force, so they can take a fair bit of punishment.

Note 1. Ice. It is no longer suggested injury procedure to use ice to reduce swelling. Yes, it is effective at reducing swelling but we now understand swelling is an important part of the healing process and although ice might make it feel and look better in the short term, it actually increases the amount of time the injury will take to heal. You want the blood to be able to flow to the injury to take away dead cells and bring nutrients and energy.

Note 2. Joints. Neck, spine, shoulders, elbows, wrists, fingers, hips, knees, ankles, and toes. The reason these are almost always labeled "red" or "no go" on impact play body maps is because these are choke points for blood vessels and nerves; they are made of fragile tendons and cartilage, and they have very little padding for protection. They're also important for movement day to day and very difficult to heal properly. If a joint is damaged, you can buy braces for every joint from most pharmacies.

Note 3. Dislocations. If you're lucky, a partial dislocation will relocate by itself if you move the joint around as you normally would, not forcing it or trying to manipulate it with your hand, just moving it with its own muscles. If it does naturally relocate but you still have pain a few weeks later seek a medical professional. If you're unlucky or if it’s a total dislocation, you will have to see a medical professional. DO NOT TRY TO FORCE IT BACK INTO PLACE!

Note 4. Bruises. Normally, bruises are nothing to worry about but there are situations where a deep bruise can be a health concern. If the bruise continues to get worse after a week, there could be a hematoma under the skin, which is like a blood clot, and might need to be removed. The other possible complication is Deep Vein Thrombosis, which is a blood clot and can be lethal, if not treated quickly. With DVT, the symptoms are tenderness, warmth, and a "pulling sensation" which are pretty normal impact play symptoms. But if you're doing impact play at the level that could cause DVT, then you and your victim should know their healing process intimately, so if something feels off or isn't healing right, get them to a medical professional; better safe than dead.

[thedreamlessnights]

Since requests are open, here's my suggestion: I recently revisited my old mythology book and found one of the myths about aphrodite bathing in a lake and blinds some pervs that sneaked up to watch her. Now, the reader might not have the powers of a goddess but you know what she does have? A dagger-happy vampire boyfriend more than willing to shank unwanted peeping toms (in his defense, he actually asked if he could be there, so no harm done here). Idk, I just like the idea of the reader having scary dog privileges and Astarion not minding looking menacing/scary while doing so

Thank you so, so much for this request, anon. It's an absolutely incredible concept, and it fits Astarion so well! I had such a fun time writing it, and I really hope you enjoy the result!

For Your Eyes Only

Astarion x F!Reader - NSFW

Content warnings: Mentions of brief, non-consensual voyeurism. Somewhat graphic violence, as well as mentions of blood, degrading terms, and the description of an injury and death. Explicit sexual content, including: oral sex (receiving), penetrative sex, fingering, multiple orgasms, blood drinking, and ear play. Tags: Takes place post-Cazador, some point in Act 3. Includes mild spoilers. Established relationship, a bit of emotional hurt/comfort, and tender smut.

Word Count: 5.8k

After the darkness and chill of the Shadowlands, the heat in the city feels suffocating.

You missed the warmth dearly back then, trudging through despair and gloom, thinking of nothing but the inevitable relief of the city. Your bones always ached something awful in that foul place, never warm enough to ward away the icy air. Now, though, it occurs to you that you hadn’t fully appreciated the cold when you had it. 

The sun that streams down from the skies is blistering - scorching, even - and without reprieve or relief. Sweat courses down your neck, soaking the collar of your shirt. Your socks are damp inside your boots, and where the leather meets your calves, they’re chafing. 

Gods, what you wouldn’t give for a bit of that chill again. Even with the achy bones.

What’s worse is the mud, somehow. One would think that Baldur’s Gate would be scarce on its share of the stuff, but it’s everywhere. Tracked up from Rivington, puddling in the streets, clinging to the bottom of boots.

Granted, your boots have seen more than their fair share of mud since the nautiloid: sticky, wet, warm. It’s seeped into socks and splattered across new armor, stained some of your favorite nightwear. Sometimes, when you’ve finally settled down for dinner, you’ve been able to taste it. No amount of scrubbing rids you of the earthy, bitter taste for long. 

The mud in front of you is different, though. By all accounts, the heat should have baked everything at least somewhat dry, but this puddle remains. If it can even be called a puddle, really. The gloppy, wet mess looks more like a pond, and completely blocks the only path ahead. Even the edges of it remain entirely liquid. If you didn’t know better, you’d think it’d just rained.

A quick glance at your map confirms what you’d feared; this is the only nearby route to your destination. You’re on the outskirts of the city. Rock walls line either side of the path, too steep to climb. You know for a fact that Shadowheart had recently used your last Potion of Flying. Either you lose hours of progress to get Gale from camp so you can cross, or you’ll have to proceed through this stupid pond.

Astarion watches you eye the mess with a dramatic flick of his wrist. “Oh, by all means, darling, you go first!” he exclaims, raising a brow. “It won’t be me jumping in that slop.”

Karlach frowns at the mud’s appearance, tapping the toe of her boot against the surface. It ripples at the movement, brown waves gently sloshing against the surface of the nearby stone. “Can’t be that deep, right?”

“I don’t know,” you reply. You’re aching for a stick or loose branch, something to measure it, but there’s nothing around. Just grass and stone, the scalding sun on the back of your neck, and the muddy pond directly in the middle of the path. 

“I say we go back,” Shadowheart urges. “I don’t know about any of you, but I’m not keen on dirtying myself.”

“We’d have to backtrack through hours of traveling,” you point out. “There’s no other way forward. I’ve checked the map.”

“Fine,” she relents, crossing her arms across her chest. “You go first, and we’ll follow behind you. Once we’ve seen it’s safe, that is.”

And, hells, you do not want to step foot in there. Not one bit. Still, do you have much of a choice? Your feet are already aching from the day’s walk. It would be devastating to lose all your progress. So, no - you really don’t have a choice, not if you want to get those Netherstones and stop the Absolute in time. The quakes in the city have only been getting worse.

“Alright,” you finally reply, your voice stronger than you feel. 

You step forward, pressing your right boot against the mud, then apply your weight. Your heel breaks the surface with a terrifying rush of movement, and your leg instantly slides down into the muck - much deeper than you’d thought, deeper than it should be. When your foot hits the bottom, sticky, cold mud splatters up, painting your shirt, neck, and parts of your face. 

Suddenly, the day isn’t quite so warm.

When you finally muster the courage to look down, your right leg is submerged up to the knee, soaking through your trousers. You can practically hear the sick squelch of it making its way into your socks, squishing between your toes.

“Urgh,” you mutter, wrinkling your nose as you attempt to pull your leg up. “Disgusting.” But it won’t budge. In fact, your squirming seems to be making you sink down even further. You try to shift your weight, but your balance is uneven with one leg in and one leg out. You’re dangerously close to losing your footing, and every bit you struggle threatens to tilt you face-first into the makeshift mud pond. In a prime moment of idiocy, you plant your other foot in the mud for support, and find your bottom half completely unable to move.

“What a brilliant idea,” Shadowheart says. “Now you’re stuck.”

“Thank you, Shadowheart,” you grit out, sweat dripping down your neck as you attempt to twist yourself around. “I had no idea!”

Karlach steps behind you, laughing a little. “Come on. Up you go, soldier,” she says, leveraging her arms under yours and giving a quick tug. You’re expecting the mud to release you, but it doesn’t. Your legs don’t budge - not even an inch. 

“What in the…?” she mutters, giving another pull. This one has more force behind it; when she tries to haul you up, white-hot pain sears up through your ribs, ripping an agonized cry from your lips. No matter how hard she yanks, the mud’s grip only tightens around you. It’s beginning to feel like you’re a brittle piece of rope in a vicious game of tug-of-war. 

“Shit! I’m sorry!” she exclaims. “So, so, sorry!”

“What are you doing?” Astarion asks, his voice suddenly sharp. “You’re hurting her! Put her down!”

“So she can get sucked further into the mud?” Shadowheart asks. Her voice is lined with fear now, which is scaring you more than anything else about this miserable situation. “We have to get her out!”

But it quickly becomes clear that no matter how hard Karlach pulls, it’s useless. Every yank is agony, and you only sink further and further. Tears stream down your cheeks from the pain, and your spine feels like it’s gained a good two inches from being stretched, but still nothing. No give at all.

Eventually, Karlach lets you go. Your body plops down in relief, but the mud is somehow deeper than it was before. It’s up to the bottom of your ribs now. 

“Fuck me,” she pants, wiping her forehead. “What should we do?”

“How should I know?” Astarion’s face is drawn, more pallid than usual. His lips are pinched into a line. He should be telling you I told you so, making jokes - and you know he would be, if he were anything but absolutely terrified. Your panic is bad enough with the heaviness of the mud on your chest and lower body, but the look on his face? That tells you it’s even worse than it feels.

 “Step back,” Shadowheart instructs quietly. “I have an idea.” 

Once the two of them are out of the way, she steps forward. Stretching out her hands, she mutters an incantation into the air. In seconds, the slight chill of the mud surrounding you becomes sharp, painful ice that burns against every exposed inch of skin it touches. A very muddy shade of ice, but ice all the same. 

Karlach’s axe crashes through the surface and it shatters, breaking around you. After another hit and a moment of digging, she finally has you out: freezing, still covered in mud, and very sore - but alive.

“Thank you,” you manage, choking out the words between your shivering.

“Never say I didn’t do anything for you,” Shadowheart says, smiling a little. She lets out a breath of relief, the tension bleeding from her shoulders. “Now. Turning around, are we?”

By the time you get back to camp, you’re the most uncomfortable you’ve ever been in your life. You’re wet and cold and exhausted, caked with dried mud that pulls at your skin when you move. It’s in your hair, on your face, and in your shoes, squelching with every step. The feeling makes you want to crawl out of your skin. Your ribs are sore and achy, and - on top of all of that - you’ve lost a good day’s worth of travel. 

The only thing you want is to fall into Astarion’s arms, but he wrinkles his nose when you come near, holding out a finger to stop you. “Oh, no you don't,” he says. “Bath first. Then you can talk to me, darling.”

It seems no amount of persuasion is going to change his mind, so you head back to your tent and grab a number of supplies - soap, sponges, a towel, and a change of clothes. Your trusty knife for protection. The river is bound to be freezing, but it’s better than sponging yourself down and hoping for the best. 

Thank the gods you’d found a decent pair of boots in an abandoned house today, because the ones that are currently plastered to your feet will take days to dry out, even in the hot sun. When you get to the nearby river, you don’t even bother to take them off before you plunge them into icy water, sufficiently drenching them until you can furiously loosen the mud enough to slip them off and toss them onto the riverbank.

The rest of your clothing gets the same treatment: the trousers which slowly pull away from your skin, the shirt that’s splattered with mud and covered in it up to the waist. Your hair will no doubt be a disaster, too. 

You’re still sitting in the soaking-wet clothes when you hear the sound of a twig snapping behind you. Your hand instantly grabs for your knife, ready to throw it at whatever threat might be in the woods as your eyes sweep along the trees. 

Nothing. You find nothing.

“Darling,” comes Astarion’s voice. He slips out from the shadows, immaculately clean, gazing down at the weapon in your hand with a lifted brow. “Planning to render me dead twice-over?”

“You scared the living hells out of me, Astarion!” you snap, sucking in a shaky breath. The blade drops from your loosened fingers, softly thumping against the dirt. “What are you doing out here?” 

He steps closer, taking a seat on a nearby log. “You were taking ages to get clean,” he whines, sprawling out his legs in front of him. “And, unfortunately, our companions haven’t had an argument all night. How else am I meant to entertain myself? So here I am. Trudging through the woods for your company.”

“You could give me a warning next time,” you reply, still a little jarred. “I thought you were someone hoping to catch an eyeful.”

A smirk flickers across his lips. “Oh, but I am,” he says. “Do you mind terribly?”

Against your will, your cheeks heat, and his smile widens. “I don’t mind,” you say. “Not if you behave, that is. Hands to yourself.” 

“I’ll be on my very best behavior,” he promises. Leaning forward, he prods your boots, wrinkling his nose at the sight. “Gods below. Those disgusting things should be burned.”

“I have an extra pair.” You move to tug your shirt off, but it’s clinging to you. “Gods damn that stupid mud pile. I should have asked Gale to use a cleaning spell.”

“Oh, please,” Astarion says. “He’s been sulking in his tent all evening. Apparently, being asked to blow yourself up by an old flame doesn’t do much in the way of socializing.”

The shirt finally pulls free, and it’s clear that your smallclothes have received the same treatment as the rest of your garments. Gods, you really should have asked for that cleaning spell. This mud is going to take ages to get out.

“Hand that here,” Astarion says, motioning for your shirt. You toss it to him, and he inspects it closely before setting aside.

“What?” you ask. “What were you looking for?”

“Oh, darling, nothing,” he says. “That’s my ‘to be burned’ pile. We’ll get you a new one.”

You’d argue, but you aren’t very attached to your current outfit - and besides, after weeks of trekking through wilderness and Shadowlands alike, it’s falling apart even without the mud. 

“Do what you want with it,” you grumble, finally pulling off your smallclothes. “That shirt was barely surviving anyway.”

You glance over your shoulder and find him observing with a raised brow, slowly taking the sight of you in. You must look like a mess, but you’d never know it from the glint in the eye, or the complacent smile that plays upon his lips. Heat stirs low in your belly, simmering under your skin. Later, you tell yourself. When you aren’t covered in filth.

You lather up the soap on your sponge, scrubbing away the mud the best you can, but the damned stuff takes ages to get off. By the time you’re finally clean, the silvery moon is high in the sky, and your skin is beginning to prune.

Astarion makes a small comment or two, but mostly seems content to watch you in silence. His gaze burns over every inch of exposed skin, leaving phantom heat wherever it stalls. All you want is to get out of this damned river and touch him, but you’re determined to get every bit of the mud off before you do, and it’s taking much longer than you’d hoped.

When you’re finally presentable, you start on cleaning your filthy smallclothes. The soap is slippery, making it difficult to do much scrubbing, and the water alone is doing hardly anything. 

Astarion watches you struggling, huffing as you nearly drop the soap bar in the river. After a moment, he lets out an exasperated sigh. “Dearest, you do realize that it would be much easier if you-”

But his words suddenly cut off. His head snaps toward the woods, and every nerve in your body burns with fear. In the span of seconds, he’s lunged forward, grabbed your knife, and darted after the sound. 

Not a moment later, there’s a loud crash - some form of impact as he tackles whatever it was that he heard. You instantly push yourself out of the water without thinking, numb, your heart pounding in your chest as you stumble into the forest after him. It only takes a few steps in before you see it: a man on the ground, Astarion’s knife to his throat.

Your stomach churns, and your skin prickles in the air’s chill. How much had he seen? How long had he been standing there?

Astarion is shouting something at him, and the stranger is struggling against his hold, but it’s useless. He’s a scrawny, weak little thing, no match for Astarion’s lithe, nimble strength. No amount of twisting or fighting dislodges Astarion’s grip. After a moment, he finally gives up, cackling like an old hag as his head plops down against the dirt.

“Give me one reason why I shouldn’t kill you here and now,” Astarion hisses, anger contorting his features.

In response, the man spits in his face. “She’s your bitch, is she?” he croaks. “You can take a turn after I’m done with her.”

Astarion snarls in response, gripping the man’s collar and pressing the blade deeper into the skin until it draws blood. 

“Wait,” you call, stepping closer. “Don’t.”

Astarion blinks in disbelief, sitting up, careful to keep his weight on the stranger underneath. “My love, you can’t be serious,” he says. “You want to spare this-”

“Spare?” you echo, cutting off his words. “Who said anything about sparing him?” 

Something glints in his gaze as he takes in your words. “Darling,” he drawls, his tone admirational. “By all means.”

He hands you the knife, and you kneel down next to him. It’s heavy in your hand, cold and smooth as you run your finger over the flat edge of the blade. You stare at the shimmer of it for a moment, entranced, somehow calm in the midst of this chaos. Then you slam the bottom of the hilt into the man’s nose.

There’s a sickening crunch before he screams, blood streaming over his mouth and spilling down his chin. Even after last night’s feeding, Astarion tenses up at the smell of it, but the curl of his lip tells you that he won’t be drinking from this piece of absolute refuse.

When the stranger reaches over and grabs at your arm, you almost don’t even realize - you’re so caught up in your own mind, in the weight of the knife in your hand. Then his nails dig into your skin, and everything hits you at once.

The freezing night air. The stinging, throbbing pain that flares through your skin as he claws at you, unable to do much more. The feel of Astarion’s hand, gentle but firm, prying the knife from your grip. It happens before you can even react - a swift slice of the blade, slitting the man’s throat. Dark blood, gushing from the wound and onto the dirt below.

For a moment, there is nothing but the sound of your breathing. Sharp but shallow, straining in your chest. Jagged air that flows in and out, but it does nothing to stop the increasing amount of black in your vision. 

You’ve fought and killed more people than you can count so… why does this feel different? Why here, why now? You’ve nearly died before, so why does the scrape on your arm feel like it’s much more than that?

Then Astarion’s hands envelop your cheeks, blissfully cool, and the panic and pain seep out all at once.

“Darling,” he’s saying, half-breathless, “are you alright?”

You manage to nod, and some of the concern leaves his eyes. He runs his fingers over the scrape on your arm, and you wince. “We need to get you patched up,” he murmurs, his brows pinching together.

“Don’t take me to Shadowheart,” you choke out. She’s already done you enough favors, and you won’t be able to stand her disapproving gaze if you disturb her rest after today’s fiasco.

He huffs. “Stubborn little thing,” he mutters, but he doesn’t argue. 

Instead, he heads back to your supplies by the river. When he returns, he wraps a towel over your shoulders, and it’s only then that you realize you’re naked. Completely, utterly naked. It had been bold of you to break that bastard’s nose in the nude, but… well, it hadn’t been your intention.

He’s dead now, though. He’ll never look at you again.

Astarion sweeps you up into his arms and carries you out of the woods along with your clean change of clothes, holding you tight against his chest and leaving your soiled clothing behind. 

You can’t find it in you to care at the moment. You’ve scrounged up plenty of clothing along the journey; those torn, stained things won’t be missed. Not to mention, if you ever need more, Astarion will gladly steal you some new ones.

He takes you to your tent, and you’re grateful to see that everyone else has turned in for the night. Anyone awake to see you would inevitably have questions, and this only affirms your decision to avoid Shadowheart - if you woke her up to heal a minor scrape on your arm, she’d be seething. 

And though she’d undoubtedly be sympathetic after hearing the cause, you don’t think you can muster up the words to tell her what’d happened.

After he’s carefully set you down on your bedroll, Astarion yanks the flap of your tent closed and reaches for your pack, digging through the contents until he’s found some bandages. His grip is gentle as he takes your arm and swipes some remnants of a healing potion over it. You’ve been through this dozens of times, but you can never seem to shake the urge to wince as it sets in - the potion stings just a bit before it soothes, a sharp tingling that fades into a sweet, balming relief. 

You’ve calmed down some, warming up in your tent with him, but Astarion’s hands are shaking as he wraps the wound. His brows are pinched together, his swallows are thick and strained, and he can’t seem to meet your eyes, even when he’s done bandaging you up.

“Astarion,” you murmur. “He’s dead.”

He stills in place, jaw clenching as he inhales sharply, still not meeting your gaze. Instead, he glowers down at the tent’s floor, his hands balling into fists. “He deserved so much worse than that,” he snaps. 

You don’t argue with him. Instead, you let him fuss over you, taking the time to smooth through your wet hair, plucking out remaining leaves and twigs from the woods. He gets you into a warm, fluffy robe - only the gods know where he’d managed to find something like that - then pulls you close, his thumb stroking over your cheek. You rest your head against his chest and close your eyes, listening to the soft sounds of his body working under his skin. No heartbeat, of course, just the quiet churn of his movements, the rise and fall of his ribs that’s become habit to him. 

After a moment, he takes your face in his hands, just as he had in the woods - but when you meet his gaze, there’s a sharp intensity in his eyes rather than fear. He takes you in little by little, tilting your head up to brush his fingers over the fading marks on your neck. 

Then he leans in, and you catch the smell of him you know so well, lingering on his skin like soap. Bergamot, rosemary, brandy. It’s what you associate most with him, that sweet, sharp scent that bathes over you. When his lips finally meet yours, the kiss is rough and desperate, heated and aching. His fangs scrape over your lip, grazing the delicate skin but not breaking it. His tongue slides into your mouth, and his hand returns to the back of your neck, tightening his grip.

One of your hands fix into his shirt as you lean into him, nipping at his lip. You shift your free hand up into his hair, tousling through the soft, silky curls before gently tugging. He groans and pulls you closer, and - gods, it’s incredible. Warmth drags down your spine like a hot coal, searing and addictive. You squirm a little in his grasp, shifting until you’re straddling his hips, and he pulls away to kiss down your jaw, murmuring soft words into the skin.

When he gets to your chest, you let him untie the robe and spread his hands underneath, peeling the fabric off your shoulders, fingers slowly warming as they trail down your back. His hands settle on your waist as he kisses you again, mouth soft against yours.

Gods, you need him. You’re already soaked, and he’s barely even touched you.

You can feel him hardening underneath you, his movements growing desperate, his breathing labored. You grind your hips against him and he lets out a strained noise against your lips, shuddering. He pulls away, examining your expression as he tucks a strand of hair behind your ear. 

The movement is tender and incredibly sweet, but you’re hardly patient. You’ve been wanting him ever since he sat on that log in the forest, gaze roaming over every inch of you. You let out a soft whine, attempting to tug off his shirt. He does absolutely nothing to help you.

“Astarion,” you breathe. “Please.”

“Hm? Did you want something, darling?” he asks, the desire in his voice betraying his otherwise casual tone.

“I want you,” you tell him, rolling your hips again in search of the friction you so desperately need. “Please. I want you.”

“Easy, love. You have me,” he replies, brushing his thumb against your lips. Your heart swells with a fondness that would threaten to make you cry if you weren’t so ridiculously needy.

And finally, thank the gods, he takes off his godsdamned shirt.

You run a hand up his shoulder, then into his hair. You’d once thought that he was using a special shampoo - his hair was so soft, it seemed the only explanation. Then you’d seen him with the same shampoo you were using, and you’d practically wept with envy over his ridiculously perfect genes. Even now, as you run your hands through the silk-soft curls, you don’t understand it. 

Then you trace up the line of his ear, and he shudders, leaning into your touch. When you gently massage the tip of his helix, he lets out a soft, seeking noise and his eyes flutter shut. Hells, you swear that you can feel him growing even harder beneath you. Another roll of your hips and his eyes slowly open again, half-lidded and glazed with desire. His hands firmly grip your waist, and there’s the briefest sensation of falling as he rolls you back onto your bedroll, tucking the pillow under your head.

He kisses along your clavicle, nosing down your ribs, humming against your skin. Feather-light brushes of his lips meet your ribs, then your breast, pausing to swipe his tongue over your nipple before he proceeds downward. When he arrives at your navel, your legs automatically spread open for him, and he lets out a hum of approval. He takes a leg in his hand and kisses up the thigh, warm, sharp kisses that trail up to the place you want him most.

He starts off slowly - a long lick over your clit, a quick swipe of his tongue before he settles between your legs, propping your thigh over his shoulder and starting a maddening rhythm. After all this time, you really should know how much pleasure to expect - but after everything, after his confession in the Shadowlands and the fear with Cazador, this still feels… new.

And Astarion is very, very good at what he does. He seems to know exactly what you want before you do, before your mind can put it into tangible thought, and before your body can even search for it. He works a finger into you, then two, and you’re left gasping and squirming as he sets an agonizingly slow pace. After a moment, he speeds up, just where you want him, perfect, perfect-

And then he pulls away, and the look on his face practically shouts that he knows exactly what he’s doing to you. Of course he does. He’s always been a tease. His fingers continue their work, languidly dragging in and out of you as he speaks.

“You know,” he says, pressing a kiss to your thigh, “back at the river, this was all I could think about. Getting my mouth on you. Watching you come apart piece by piece.”

Gods, he’s been direct before, but never that direct. Frankly, you’re surprised you don’t come then and there. Instead, you clench hard around his fingers and whimper, rolling your hips in time with his movements.

“Astarion,” you pant, unable to coax your mind into forming a coherent reply. “Gods, Astarion.”

He hums in response, flashing you a wicked grin. “That’s it, darling,” he encourages, shifting his fingers until they’re brushing against a spot that makes your vision black out. “Say my name. Let everyone hear you.”

You manage a laugh that quickly fades into a soft moan. “The entire camp will kill me if I wake them up.”

He nips at your thigh. “Let them try,” he muses. “They’ll have to get through me.”

He lowers his mouth between your legs again, and your head falls back against the pillow. It’s an embarrassingly short time before your muscles start to tense up, wiring you with pleasure from head to toe. One of your hands fixes in his hair, pulling tightly as white-hot pleasure sparks through your abdomen, and oh, gods, you’re coming-

Your vision cuts out again. Your mind fuzzes over, drunk with pleasure, leaving you shuddering, clenching around his fingers, moaning into your free hand. 

You know he’d prefer to hear you, but if you actually disturb any of the others, you’ll die of embarrassment. One day, the two of you will have your own house with a real bed, and you’ll be as loud as you want. For now, you muffle your cries into your fingers and tremble through your climax.

Your body floats weightlessly for a moment in what must be Elysium, until you finally rejoin yourself and find your limbs heavy and uncoordinated. Astarion huffs, placing a final kiss on you until he crawls upward, kissing up your chest again. 

He’s still holding himself back - you can see it in the way he moves, in the tension of his muscles and the coil of his shoulders. There’s a fire in his eyes, a hunger that you recognize so well. When he reaches your neck, you instinctively tilt your head, allowing him access to his usual spot. 

For a moment, he hesitates, his warm breath fanning over the skin as your pulse hammers in your throat. Then he groans, grinding himself into your leg as he bites down, chasing his pleasure against your thigh as your blood spills into his mouth.

You know this routine so very well by now. The sting of the bite, and the numbness that follows. The ebb and flow of your blood, filling his mouth. The slight dizziness that comes before he pulls away, swiping his tongue over the bite for one final taste.

“Gods,” he pants, gripping your shoulder. Then, to your utter disappointment and confusion, he pulls away. “Wait here, my sweet. I need to - I’ll be right back. I promise.”

And before you can protest, he’s scrambling out the tent. For a long, numb moment, you stare at the tent opening, wondering if you’re dreaming. The silence of the tent grates on your ears, echoing the sound of your breathing until you can barely stand it. Then he’s pushing inside again, a scroll in hand as he closes the tent.

“Do I want to know what that is?” you ask.

“A scroll of Silence, darling. I’ve been saving it.” He flashes you a grin, murmuring the incantation as the scroll shimmers in his hand. Pure Weave, confined into parchment. 

You don’t hear the spell take effect, but you feel it. It’s a thickness in the air, a heaviness in your movements. 

Astarion doesn’t waste another second. He pushes up to kiss you, and it’s messy - your tongue against his, the sting of sharp teeth, your hand in his hair and his hand on the nape of your neck. There’s the taste of metal and herbs: your blood mixed with the remnants of a healing potion. He spreads your legs with his knee, then sits back on his heels and reaches down to undo his trousers.

You study him for a moment. The crease of his brow. The alabaster of his skin, sculpted out like a statue from marble. 

If you were an artist, you’d make him your life’s work. You’d chip out his every feature little by little, painstakingly working away at the stone to define the look in his eyes when he tells you he loves you. You’d spend ages carving every wrinkle, every line, every perfect imperfection. The touch of it would be cold, like him, but it could never compare to how he looks as he settles over you, eyes blown dark with desire. 

He inches closer, still on his knees, and takes hold of your thighs, lifting them up to meet his hips before gently easing inside of you. He lets out a sharp exhale as he slowly presses deeper, his grip shifting to your waist.

Nothing could compare to the way it feels as he fills you up inch by inch, murmuring praise, telling you how beautiful you are for him. “Darling,” he bites out, gritting his teeth at the pleasure. “If anyone ever tries anything like that with you again, I’ll tear them to shreds.”

You laugh a little, breathless, delirious in the delicious stretch of him inside you. “I won’t stop you. I just might ask to break their nose first.”

He shakes his head, but a small smile plays on his lips before he straightens and starts his rhythm. Slow, even thrusts that leave you grasping at the blankets beneath you, trying to steady yourself in the waves of sensation. He stares down at you, half-drunk on your blood, lips parted and his cheeks flushed.

“You feel incredible,” he breathes. “Gods. You’re incredible.”

Your eyes don’t quite know where to land. They never do. Now, they flutter over his abdomen, taking in the sight of the muscles that ripple and contract with the rolling of his hips. The droplets of sweat that slowly build on his skin, glimmering like crystals. 

His jaw clenches, and his pace starts to quicken, and the feeling of him inside of your aching cunt is just so godsdamned good. His cock stretches you out like it was made for you, and soon your lungs are hardly filling with air. You can’t think, and you can scarcely breathe. All you know is that you’re not going to last much longer.

You tug at the blankets and shut your eyes, and he lets out another soft, aching noise as he thrusts deeper, faster, filling you up, the slick sound of your arousal echoing through the tent and mixing with the heaving of your breaths. You clench around him and he groans, shifting the angle of your hips, rhythm frantic.

“That’s it,” he pants. “Come for me, darling.”

And you do. Your body clenches around him as you cry out, back arching, pleasure overtaking every thought but one: Astarion. Astarion, Astarion, Astarion. Your breaths scrape shallowly through your chest and ecstasy burns through every inch of you, every nerve - until you feel paralyzed. Content, thoroughly fucked and sated, but paralyzed.

 You’ve just started to come back to your senses when Astarion follows you over the edge, a moan tumbling from his lips that sounds remarkably like your name. His hips thrust a few more times, chasing after his pleasure, clumsy movements that slow to a halt as he shuts his eyes. He shudders, then slackens, carefully pulling out of you before he wraps his hands around your thighs and gently lowers them back to the bedroll.

You can barely move, still lost in the aftershocks of pleasure as he cleans you up, smoothing the hair out of your face as he lays next to you.

“You know,” he says, “I think I’m going to ask Gale to make us another one of those scrolls.”

And, gods, all you can do is laugh.

[hotshotsxyz]

since forever

(buddie) (1.3k words) at no point in time while writing this did i have a single plan for where it was going. it's soft, it's sweet, it has minor spoilers for the blair witch project (1999)

Bizarrely, the first thing that occurs to Eddie post-realization is that he lied to a priest. The thought startles a laugh out of him. Whoops.

He feels good. Like—shockingly good. Light and optimistic and free, everything he’s been trying to let in since Father Brian gave him the go ahead to stop punishing himself, which—

It isn’t actually that he needed permission, especially not from a priest. Or maybe he did.

All he really knows is that this joy he’s letting in? It doesn’t hurt. It doesn’t hurt him, or Chris or Buck or anyone else he loves. So when Eddie finally realizes why he’s been putting Buck in his own category for years, he doesn’t even try to put it back in the box.

He loves Buck. He wants Buck. And he’s allowed to want. It’s a good thing, even. And speaking of Buck—

His best friend/the love of his freaking life is staring at him like he’s grown two heads. Which, fair. He’s not entirely sure where they are in the movie, but as far as he recalls there isn’t much in the way of comedy in The Blair Witch Project.

It’s just—Buck was sitting on the literal edge of his seat, pillow clutched protectively to his chest, staring at the TV with eyes wider than dinner plates. Who in their right mind could see something like that and come to any conclusion other than love?

Buck pauses the movie.

“Do not tell me you think this,” he says, gesturing at the screen where, oof, yeah, a young woman is sobbing in terror, “isn’t scary.”

“No, no,” Eddie replies, “very scary.”

Buck snorts. “You’re such an asshole,” he says, but it’s wrapped in one of those warm grins that give him away every time.

Eddie hums agreeably.

“Alright, fine,” Buck says. He scoots closer until he’s flush against Eddie’s side. It’s really not that much of a scoot. “If you’re gonna go all brave strong man on me, I get to use you as a shield.”

“I guess I can live with that,” Eddie sighs. He wraps an arm around Buck’s shoulders, just because he wants to.

He can feel Buck’s exhale as he settles against his shoulder, and for all the times they’ve touched before, this feels different. Maybe it isn’t, though. Maybe Eddie’s just different.

As the tension in the movie ramps, Buck burrows further and further into Eddie. He kicks his feet up onto the couch and twists so that Eddie’s forearm falls from his shoulder and drapes across his chest instead. It’s maybe the most comfortable Eddie’s ever been.

On screen, the two remaining characters creep into a seemingly abandoned house. On the couch, Buck squeaks and grabs Eddie’s hand. This, he decides, is his new favorite movie.   

“We’re never going hiking again,” Buck declares as the credits roll.

“Sure,” Eddie says, shrugging with the shoulder that isn’t currently occupied by Buck’s head. “Until you see a cool trail on Instagram.”

“I’m serious!” Buck says. He tilts his head back until he can kind of make eye contact with Eddie. “I am not getting Blair Witched.”

Eddie hums, pretending to think about it. “How about we just… never go hiking in Maryland?” he proposes.

Buck grins up at him, and oh, Eddie has never wanted to kiss someone as much as he does in this exact moment.

“Deal,” Buck says. He sits back up and rests his head back against Eddie’s shoulder.

There’s a long stretch of quiet where Buck plays with his fingers and Eddie revels in the feeling of it. He thinks—he’s almost certain—that he could ask Buck for anything right now and he’d say yes.

Kiss me.

Move in with me.

Marry me.

His lips tick into a small smile at the thought, but he takes it no further.

“Hey, Eds?” Buck asks quietly.

The TV screen has shut itself off, leaving the room in semi-darkness, cut only by the light of the streetlamps outside.

“Yeah?”

“Something’s different,” he says. It’s not a question.

“It is,” Eddie acknowledges.

“Good different?”

Eddie considers for a moment. Something about the hour, the darkness, Buck’s warmth against his side, makes him feel brave. He presses the smallest, softest of kisses into Buck’s hair.

“Good different,” Eddie confirms.

“Oh,” Buck breathes.

“Good ‘oh’?” Eddie asks teasingly.

Buck flicks one of Eddie’s fingers in recompense. “If I didn’t know you better, I’d think you were fishing for something,” he says.

“If I am?”

Buck takes a shaky breath. “Then I’m gonna need you to spell it out for me, Eds.”

He sits up and turns to face Eddie directly, and as much as Eddie misses the warmth of his body, he wants to look Buck in the eye for this part.

“I love you,” Eddie says.

Buck’s lips part in an awed sort of surprise.

“I’m in love with you,” he continues. “I have been, for years, I think. I just… wasn’t ready to let myself look at it.”

“Eddie,” Buck says, already a little wrecked.

“You don’t have to say anything,” Eddie reassures. “I’m not going anywhere.”

“No, I—” Buck says quickly, stumbling over his words. “I didn’t—I’ve never even—” He looks down and his expression shifts, like he didn’t realize he was still holding on to Eddie’s hand. “You love me?” Buck asks, looking back up, eyes shining in the yellow glow of the streetlamps.

“Yeah,” Eddie says softly. “More than I think I knew was possible.”

Buck exhales in a punched-out kind of way. He raises a hand to Eddie’s face and ghosts two fingers along his cheekbone and down the line of his jaw. “I didn’t—I didn’t know I could,” he breathes.

“You can, Buck,” Eddie says. “Whatever you want, it’s—”

Buck surges forward and cuts him off with a kiss, and if there was a single doubt left in Eddie’s mind, this would’ve extinguished it. It’s a little messy, a little awkward, and the angle’s not quite right, but—

It’s Buck, so it’s perfect.

He pulls back, gasping for air. “I—I’m sorry, I shouldn’t have—”

Eddie catches one of his hands and rubs his thumb in soothing circles on Buck’s wrist. “Don’t be,” Eddie says softly. “It’s okay. If you need time—”

“No!” Buck says quickly. “Or—maybe? I just—” He blows out a sharp breath.

“Hey,” Eddie says, ducking his head until Buck meets his eye again. “I told you once that you didn’t need to be anything for anybody. That includes me, okay?”

“Jesus, Eddie,” Buck says.

“I’m just saying, you don’t have to make any decisions tonight. You don’t even have to want,” Eddie says, gesturing between them in lieu of finishing his sentence.

Buck sags a little. “Of course I want,” he whispers.

Warmth floods Eddie’s chest and overflows into his stomach. “Yeah?” he asks.

A slow smile spreads across Buck’s face. “Yeah,” he says. “I really do.”

Eddie has known happiness before, felt it in small bursts and long stretches. But what he’s feeling now—it’s blindingly bright, brilliant and beautiful and free of fear in a way he’s not sure he’s ever experienced.

“Can I kiss you again?” Buck asks breathily.

Eddie nods, not quite sure he can trust his tongue anymore.

This time, Buck leans forward deliberately. He cups Eddie’s face in his hands and tucks his nose against Eddie’s before carefully brushing their lips together. It’s featherlight and maddening in the best possible way.

He presses his lips against Eddie’s again, then teases them open with his tongue and—

God, if this is how it was always supposed to feel, Eddie’s pretty sure there are a few more revelations coming his way in the near future. For now, though, he just leans in.

“Oh!” Buck exclaims, popping back suddenly. “I love you, too,” he says. There’s something like wonder coloring his tone and writing itself across his face. “I really—Eddie, I think I’ve loved you forever.”

It’s not possible, not really. As difficult as it is to remember what it was like before his life became intertwined with Buck’s, that before still exists. Eddie knows that. But in his heart—he’s pretty sure his atoms started loving Buck’s at the beginning of the universe.

“Yeah,” Eddie says, drawing Buck back in. “Me too.”

[casscainmainly]

Gender and Sexuality in Batgirl (2000)

While Kelley Puckett's opening run on Batgirl (2000) deals with Cass experiencing human connections and human life outside of fighting, issue 37 onwards takes a hard turn into gendered experiences. For sure there's some problematic elements (Cass gets sexualised a LOT more), but Horrocks' run does explore Cass' view on gender and romance in an interesting way. I'll be focusing on issues 37 - 57, essentially Horrocks' run but including guest writers (Gabrych, for instance, is our starting point). By the way I'm not a gender studies expert so feel free to disagree with any of these readings.

Riot Girls

Issue #38 (written by Gabrych) opens with this Batman conversation, which sets up Horrocks' run perfectly. Cass has never experienced a close female friendship (Babs is more mother/daughter) until Stephanie. Yet Bruce strikes a nerve here: she's not like you, and she never will be. He tells Cass something she already suspects - there's something she lacks that Stephanie has. (Bruce is, ironically, trying to say that Stephanie's the one lacking, but that's not what Cass hears).

This leads into the iconic Steph-Cass conversation:

Steph reveals she's had a baby, and this is Cass' reaction. She realises how much she doesn't understand about her body, romance, and gender in general. Stephanie has "finally beat [her] at something." She has experienced 'girlhood' in ways Cass can only dream of.

At the end of the issue, Stephanie asks if Cass thinks "he's right" (referring to Bruce), and Cass says yes. By siding with the male perspective (Bruce, or the he), Cass falls out with Stephanie, losing her first female friend. The whole of Horrocks' run should be understood in the context of this issue, with Cass searching for an understanding of her gender/sexuality.

The Superboy Saga

When Babs takes her on vacation, she makes Cass put on a bikini. Cass ends up meeting Superboy, getting grossed out, and delivering this excellent speech. It's Cass' first proper encounter with the male gaze, and it's especially disquieting for her because a) she knows the power of vision and b) she's brushing up against sexism and systemic injustice, something she hasn't really experienced before. She's encountering a power that can't be defeated with fists, and she is struggling to understand it.

She eventually does kiss Conner, and decides to take a trip to Metropolis. The decision occurs after this panel. Cass' desire to be with Conner stems from her desire to understand these feelings of passion, to want/need and be wanted/needed by others. The top panel here is interesting, too; she sees sexism playing out with other people ("check me out, girls!" / "Jerk."). Her anguished expression indicates she's having trouble reconciling the harmful forms of passion (top panel) with the sweeter forms of love (bottom panel).

At the end of the Superboy saga, Cass learns to distinguish between her romantic and platonic feelings. This taking place after the fallout with Stephanie (who explicitly repudiated her friendship) makes this extra intriguing - Cass calls the creature they're fighting "lonely," clearly meant to show insight into herself. Without Steph, she felt 'lonely', thus sort of falling into this relationship with Conner. Conner, however, is unable to fulfil that loneliness. Which leads us to...

Bruce Wayne Strikes Again

I noted in my other post how Bruce is super disapproving of Cass' love life. While it's hilarious, it genuinely impacts Cass' ability to express her sexuality freely. Here, Bruce pits Cass' sexuality against Batgirl; he implies that these attempts to understand herself harm her vigilante career. The way Cass responds ("I want to. I need to") is strikingly similar to the passions panel ("I want you. I need you"). Instead of being directed to another person, Cass directs her passions to Batgirl as a career. She's sliding back into her early mindset where Batgirl was all she was.

Again, another contrast between her and Stephanie: Stephanie fought for recognition in the suit, but Cass has to fight for an identity outside of it.

The Tai'Darshan Tale

But the real motivator for Cass' sexual awakening is, of course, Tai'Darshan, the semi-racist-caricature metahuman terrorist from Tarakstan. He flirts with Cass constantly, and makes a lot of gendered references ("easy, girl," "I don't understand why a woman like you," he calls her "beautiful") (#39, #40). He is the first significant character to take an interest in Cass as a girl, and without his flirting Cass probably wouldn't have kissed Conner (she kisses him after fighting Tai'Darshan twice).

Tai'Darshan does a big tornado thing and Bruce, intent on not letting him kill, knocks him aside, killing him. I'm low-key mad about this plot point, but that's okay 'cause so is Cass! In an echo of the Steph-Cass situation above, Bruce entirely disapproves of Tai'Darshan, but Cass likes him. Unlike with Stephanie, however, Cass doesn't side with Bruce. Instead, she keeps her feelings "secret" from Batman. It's the start of their relationship fracturing, as well as the start of Cass prioritising her own feelings and self-development over Bruce's perception of her.

No Soul

After all of this boy drama Cass understands romance a bit better, but is still in the dark about her gender. When a woman tells her she has "no soul," Cass goes to Barbara, who tells her the following:

Barbara connects 'soul' with Batgirl and femininity. Cass believes her, putting on Barbara's old suit (which one panel associates with "girl power!") and heading into the streets. What's interesting is that to achieve girlhood, Cass discards her suit in favour of Barbara's. Once again, there's this belief she's not 'feminine enough'; she's not like other girls, and she never will be.

But the suit obviously doesn't match Cass' fighting style, and in the end Cass returns to her old one. We get this great speech from Babs:

Cass is asleep here, but I do think she's learning that there's no 'right way' to be a girl - that she doesn't have to be Stephanie or Conner's girlfriend or Batgirl or Barbara, but just Cass.

The Dick Debacle

Cass gets hit with a drug called 'Soul' and has these hallucinations. This mostly male group sexualises her, criticises her for being sexual, calls her ugly, calls her hot; Cass is visualising the overwhelming contradictory standards applied to women everywhere, a compression of all her experiences thus far. Even Babs has fallen victim to pushing Cass towards stereotypically feminine experiences, and Cass' anguish is not so much at these people but at the patriarchy she's finally beginning to understand.

Dick, in particular, seems to represent this anger:

Finding out Dick broke Babs' heart seems to be the final straw. Here, her hallucinations paint her rage as feminine; the devil repeatedly calls her "girl," and Soul is being peddled by an all-female group who were 'tired of being girlfriends'. Then Cass kicks Dick out a window.

The Dick incident represents a culmination of her negative gendered experiences, beginning from her fallout with Steph and ending with another one of her close female companions (Babs) being hurt by a man.

Fallout

In the final issue before War Games, Cass essentially loses both Barbara and Steph (after making up with her and seeing her as Robin). I just like the parallel between Cass looking at Barbara as she leaves, and Stephanie looking at Cass - in a way, this is the most 'like' Stephanie Cass ever gets.

There isn't really a satisfactory conclusion to the explorations of gender or sexuality in Horrocks' run, or even in Gabrych's after. I think there's a lot to explore and I hope whenever Cass gets her next solo they look into all this a little further!

[annabelle--cane]

this is a difficult thing to have conversations about because it provokes really strong reactions in people for completely valid and understandable reasons, so please feel free to hit da bricks on this post whenever you want, but I do want to try and analyse the jonmartin slaps. we get three across 160, 169, and 172, and a line addressing it in 173, and then it never happens or comes up again. none of them come out of nowhere, and they mostly fly under the radar until 173 because they all broadly fit the "slapping someone out of a trance in an emergency" trope, but each of them slowly decreases in urgency.

the first time, the apocalypse starts up and martin comes back to find a passed out jon, can't wake him by making noise, and strikes him in a panic. this makes sense, this is a man who has entered a supernatural coma before and martin had no idea what was going on, so of course he'd jump to something desperate.

the second time, they're in a burning building, jude arrives while jon is still mid-statement, and when making noise doesn't work martin slaps him out of it. this makes sense, they were there for jude and if jon didn't come back to himself then she likely would have hurt them, though martin knew that her powers against them were limited.

the third time, jon is getting pulled into into a repeating statement instead of coming out on his own like usual, so martin speaks once or twice to try and get his attention, and then slaps him out of it. this... again, it makes sense, jon was getting trapped, but there was no immediate peril like before, martin just got freaked out and wanted to leave quickly. he seems to get that it was harsh because he apologizes for it, but they don't linger at all, martin just starts in on them having to leave immediately.

the last time it's mentioned is when they're on night street, during what is one of their most intense arguments. jon tries to talk about the suffering of the children there for longer than he needs to in order to make a point, martin cuts him off, and he pointedly says, "thank you for not hitting me this time." it never happens or is brought up again.

to our knowledge, jon doesn't say anything about the slapping until 173. he's not a guy who's known for speaking up when things upset him, he was amiably working with daisy within about a week of her trying to kill him, so it makes sense that he would just sit with this comparatively more minor thing. however, I do think it's relevant to note that, at this point in their relationship, martin will sometimes voice his feelings and boundaries (not listening to statements, not consenting to mind reading, worrying when jon expresses discomfort with his body), while jon doesn't. from the couple of times he does talk about his feelings this season, I think that tendency comes a few places: he has a hard time being aware of his emotions at all, he doesn't know how to evaluate his emotions' importance in comparison to others', he assumes his emotions are obvious and thus people already act with full knowledge of them, and the topic is just hard to make himself talk about. from what he says in 173, I think the slaps bothered him the entire time, but he made himself be fine with it until he was upset with martin for unrelated reasons and finally let it out.

as for martin's side, I do not think the slaps came from any kind of suppressed desire to hurt or wield power over jon. we've seen him when he's angry at jon, this isn't how he acts, he gets shouty and indignant but never violent. I'd even go as far as to say he doesn't do it in 173 because he's genuinely upset at jon and the situation they're in, and it would never occur to him to deliberately inflict pain on someone he cares about to assert control over them. the connecting line between all of them is fear from something that he wants jon to help him handle. the apocalypse starts, he is stuck inside one of his worst nightmares, and he's paranoid that the web took control of him. he's someone who is "always following, never leading" (170), and he gets tunnel vision when something scares him and his "leader" isn't there.

jon did need to be pulled out of all three of those situations, and words proved insufficient, and maybe a quick jolt of pain was the only thing that could have worked, but martin doesn't seem to consider what that would feel like from jon's pov. in my experience of relationships, if there's ever an unavoidable emergency where you do actually need to cross a line that you never would otherwise, you talk about it afterwards. you do a debrief where you say "I'm really sorry about that, I didn't see another way, I'll try and be better prepared next time." they do this for problems they have later on (177, 198), but martin doesn't do that here. jon's point-of-view just doesn't seem to occur to him. when jon expresses discomfort, he drops the tactic without a word; later, when he needs to anchor jon in the panopticon, he talks him through it before it can get too far. so, it's not about a lack of care for jon's feelings.

I think it comes down to a few things: a) his occasional tendency to treat people as a means to an ends and not think about their perspective. he's so glued to putting others first most of the time that when he stops, he can't find a middle ground and forgets that other people can have feelings about his actions. b) his problems with conceiving of himself as a person of any importance who is capable of doing anything, especially of doing harm. as a concept, "hurting jon" is the thing he would least like to do in the whole world, it is his nightmare scenario and literally the culminating moment of his tragedy. he finds it almost unthinkable, so the idea that he does it casually when he's scared doesn't cross his mind. one of his central worries at this point is that jon is now so powerful that he no longer needs martin, how could he hurt someone like that? he's not anywhere near a comparable level of importance, it's not like he has his own domain that he's not aware of because jon told him about it and he immediately rejected the information. he's powerless and could never bring himself to hurt the man he loves.

I just. think it's an interesting microcosm of some of the lows of their relationship. once the problem is discovered martin instantly takes the note and doesn't put it on jon to explain himself further or assuage his guilt, they are willing and able to adapt, but it still comes from some of their bedrock flaws. martin doesn't understand that he can hurt people, and jon has such an inflated understanding of his capacity to hurt people that it sabotages his self-worth and his ability to respond to pain and displeasure.

[kunaigirl]

Happy Disability Pride and awareness month! Let's talk about Epilepsy!

Hi there! I got tired of seeing my condition (that impacts my literal every day life) being left out or forgotten about during discussions about disabilities, so I made my own post about it! Let's go!

First Off! What the heck is epilepsy? Epilepsy is the fourth most common neurological disorder in the world, and it's a chronic medical condition. Epilepsy is a brain disorder that causes recurring, frequent, triggered, and unprovoked seizures to occur.

The official Epilepsy Foundation describes seizures as follows: "Seizures are sudden surges of abnormal and excessive electrical activity in your brain, and can affect how you appear or act. Where and how the seizure presents itself can have profound effects...Seizures involve sudden, temporary, bursts of electrical activity in the brain that change or disrupt the way messages are sent between brain cells. These electrical bursts can cause involuntary changes in body movement or function, sensation, behavior or awareness." (Source link)

Sounds like a lot of fun right? This is our life. Even with medication, we can be VERY limited to what can be safe for us. Seizure medications are NOT a cure, they only exist (at least as of now) as a tool to help have your seizures less often, or be triggered less intensely. Even on medication, seizures can still happen.

If you have epilepsy as a child like I did, it impacts your entire growing and developing experience. I spent MANY times as a child in and out of hospitals, neurologist and specialist offices, an getting so many EEG tests done. The pain of scrubbing the glue out of your hair for DAYS is horrible.

At a young age my seizures were so frequent and serious, it impacted my brain's ability to retain information. I had to re-learn the names of things at age 8 and 9. I had to re-learn HOW TO READ at age 10. I had to be home schooled because the public school system of my state at the time refused to work with me. I have VERY distinct and vivid memories of crying over my little baby ABC's book that I needed as a 4th and 5th grader. I knew I should've known this by this age. I knew that at one point I already did, and it was TAKEN FROM ME.

As an adult, I'M NOT ALLOWED TO DRIVE A CAR. And I can NEVER go to see a movie in theaters or go to see concerts or live music. There are entire TV shows I don't get to see. I can't go to clubs, arcades, dances, or raves. I miss out on A LOT of fun things. I always do, and I'm WELL AWARE of the fun I'm missing out on. The social, casual, and fun life experiences I'll never get to have. That WE'LL never get to have. And oh yeah! Seizures can KILL SOME OF US. Yep.

And the list goes on, and every person with epilepsy experiences it differently. There are multiple different types of seizures you can have, they're NOT always convulsing on the floor. For example, I have complex-partial-myoclonic-seizures. Meaning my muscles DO twitch when I have seizures, but I'm not always completely unconscious and sometimes I'm even able to stay sitting up. However, I'm still very "off" and can't focus or remember much for a good while after the fact. I can't talk or communicate during one, even with my slight bit of consciousness.

My experiences are not universal, I just wanted to talk about it and bring it up. It helps to talk about it even a little bit. Here's more about different kinds of seizures. Here's more about common seizure triggers. Here's more about CORRECT seizure first aid. And here's more general information/resources.

Please stop leaving us out of disability awareness. Please stop ignoring us or saying we're "not really disabled" or anything else like that. Please. Why does it always feel like the only people who care about epilepsy, are people WITH epilepsy? We're so tired of being ignored by others who don't have our condition.

If you're an epileptic person reading this, I see you. I love you. You're so strong, we all are. I believe in you, I believe in us. We're so much stronger than we get credit for, and it's going to be ok. Your anger and frustration are valid. Your emotions and struggles are real. You're valid, and I see you. Hang in there, we got this.

[jmtorres]

i just saw a post about how we just have to "live with" covid and wanting more protections from our government is unreasonable because we'll never wipe it out, it jumps species and is in all sorts of animal populations (like, true ok) so why even try to

and apparently the argument was aimed at people (who I haven't seen in the wild) who are arguing we should still be in lockdown. and i have mixed feelings about the idea of extended lockdown or attenuating isolations; but my main feeling at this point is not that the government should keep us apart but that the government should be trying to make it safer for us to be together

things the government could/should be doing about covid:

we know that ventilation/air movement helps a shitton. we should be incentivizing upgrades to ventilation systems in all public buildings with shit like rebates or tax deductions, while phasing in eventual legal requirements. (and uh. it has occurred to me that the US might actually be doing this sideways by there's currently this decade enormous tax incentives in re energy efficient upgrades for slowing climate change and you know. energy efficient hvac does tend to improve ventilation. extra point to biden here.)

mandatory paid sick leave so workers aren't under social or economic pressure to work when sick

passing out RT-LAMP tests like metrix that actually work instead of the rapid antigen tests that have become less and less reliable as the virus mutates

i don't know how you'd write this law but like 95% or more of computer-based work can be done remotely and companies should not be allowed to force people to return to the office. I know there's people who want to be back in person and I'm not saying they should be forced to stay home but ffs I know of at least two people CLOSE to me who worked remotely before the pandemic and at some point their workplaces tried to tell them they weren't allowed to do that anymore despite the pre-existing contracts. stop canceling remote work for people that want, need, or prefer it.

for that matter, every college lecture that was an online class during covid should still be offered as an online class, there is no reason to force students into auditoriums in person. you got the communications infrastructure up and running, why are you tearing it down. give people the OPTION. it increases accessibility for everyone!

covid vaccine immunity lasts about four months. this should be well-publicized and everyone should be able to re-up for free every four months. "every year, like the flu vaccine" is demonstrably not often enough. actually "for free" isn't good enough start handing out $10 gift cards you will be shocked at how many people who are resistant to the idea of vaccines will fold for $10 a shot

are there already laws on the books about masks in medical settings that some medical professionals are blatantly ignoring because they forgot what best practices were before the plague and they're 'tired of masking'? if not, pass laws. if so, fucking enforce them

oh another incentives for upgrades phasing into legal requirements thing: brass doorknobs and railings over stainless steel or whatever. microbes do not survive on brass surfaces

i mean. i know this one sounds too extreme to a lot of people but. UBI.

most if not all of these measures will prevent or ameliorate other pandemics of different diseases that may arise in the future. and just. generally improve our health and quality of life for other reasons.

I haven't felt safe to go to a concert since 2020. Maybe if I knew a venue was legally required to have ventilation to a certain standard and that none of the ticket takers and ushers were on the job sick to avoid risking loss of paycheck or job, and knew a larger percentage of the crowd had up to date vaccinations--maybe if any or all that, I might ever feel comfortable going to a show again.

wouldn't it be nice if those of us who have been disabled, by covid or other conditions, had accessible remote options but also occasionally felt safe enough to interact with and participate in wider society?

one of the arguments on the post I saw was how isolation was massively psychologically damaging and various strata of society were affected in all sorts of ways, from undersocialized kids to increased depression in--well across the board, I think. and here's the thing: WE KNOW. PEOPLE WITH CHRONIC HEALTH CONDITIONS, LONG COVID OR OTHERWISE, KNOW ISOLATION SUCKS REAL BAD. because we, both for our own health and due to disability ostracism, are still isolating and isolated more than most.

what are you as individuals or societies, what are our governments, doing to help make it safe and accessible to rejoin you????

[ineffable-romantics]

Some thoughts on why and how I believe Crowley and Aziraphale's relationship would incorporate sex/why I do not read them as wholly asexual:

This is something I've seen the most discourse about in this fandom, and I've had a few thoughts of my own that I really wanted to expand upon in a full meta/character analysis post. I do understand that this can be a contentious topic, so first, let me clarify a few things:

First of all, this is going to be long. Tbh it probably won't be that organized either. I ramble and I'm not very good at editing, so just... you know. Be warned. (*Hi, it's me from 2 days after writing this; I'm really not kidding, it's LONG)

These are all my own thoughts. They might not be hot takes, because recently I've seen more than a few people come to the same conclusions on a lot of these points as I have. But I've also had these notes in my drafts for about a week and a half now, and have been continuously adding to it as things have occurred to me. This post is essentially just somewhere for me to collect the separate but related meta I've been kicking around in my head.

I fully respect anyone who does see and prefer an asexual reading of this relationship. These are my own thoughts and interpretations as someone who is not asexual. I am in the LGBT+ community, so while I do know a few things about the asexuality spectrum, I am by no means an expert.

This is NOT something I expect, need, or even necessarily want the show (or, God forbid, Neil's tumblr ask box) to address. Tonally, it's just not that kind of show. Newt and Anathema's sex scene was very much played for laughs, and it worked for that reason. If the show found a way to address it in a way that was both appropriate for the tone of the show and ultimately satisfying, then great! But there is so much more to this relationship than sex, and I didn't need a kiss to confirm their love, so I certainly don't need a sex scene. As immortal beings (as I assume they'll stay) there is so much of the rest of their lives we'll never get to see. You can headcanon them as asexual and potentially be right. I can headcanon them as not and be equally potentially right. Again, these are just a collection of my own thoughts, because I think the question of sexuality (or lack thereof) is just as interesting a facet of these characters as any other.

Note: Tbh I've been second-guessing this whole post and debated deleting the whole thing several times for being silly or unnecessary, bc I don't want anyone to think that this is the only thing I care about when it comes to this story/characters. But if nothing else, it's inspired me to write in a way that nothing has in a very long time, so I've decided it's worth continuing, if for no other reason than that.

This is going to be a mixed bag of textual reading, subtextual reading, and a full-on reach or two. It's been a while since I've been in an English class, but if my teachers expected me to find a deeper meaning behind blue curtains, you can expect me to read too deeply into the symbolism of a loaded rifle or an ox rib. (This is probably not what my professors had in mind when grading my literary analysis papers but oh well) My point is, if it feels like a reach, I'm as aware of it as you are. I am in no way saying that all (or even any) of my points made were deliberate on the part of Neil or the actors or the writers or the directors. I am no longer the delulu Apple Tree Yard child of my youth, I promise.

If anything said here is in any way offensive or hurtful to anyone in the asexual community, please do not hesitate to message me or comment and let me know exactly what it was. I promise you it is not my intention to do so, and am happy to clarify or outright edit anything that reads that way.

With all that being said, let's talk about why I think Crowley and Aziraphale would absolutely fuck nasty incorporate sex into their relationship.

Note: I am out of practice with essay writing, so I think I'll just go down the bullet points of notes I have been making, and expand on each as best I can

Food

Where better to start than with Aziraphale's introduction to Pleasures Of The Flesh? (Just a heads up, this entire post may feel very Aziraphale-heavy, and with good reason).

This might be the least hot take here. We've all seen the Job minisode. We've all seen That Scene.

Whether this was intentional or not, the symbolism here is off the charts. Eve was tempted by an apple. So why not go a similar route and tempt Aziraphale with another fruit, or cheese, or bread, or literally anything else for his first experience with food? Instead, we go with a huge, glistening slab of fresh meat that he proceeds to absolutely go feral upon, moaning and gasping into his meal while Crowley watches with what definitely doesn't look to be disgust or even satisfaction with a good temptation. There's surprise at the ferocity of Aziraphale's appetite, certainly. But ultimately he looks to be intensely fascinated by it, while the thunder crashes, the music crescendos, and the earth literally shakes around them.

(It's also interesting to note how very little it takes for Crowley to tempt him with the ox rib. One murmured suggestion, a bit of unwavering eye contact, and vavoom Aziraphale immediately meets him in the middle.)

Cut to Aziraphale devouring the rest of the meat with Crowley splayed back on a makeshift bed, drinking wine and continuing to watch him indulge through half-lidded eyes. Outside a thunderstorm rages while they're learning secrets about each other in warm flickering firelight. It's cosy, it's intimate, and if they'd thrown in a bearskin throw blanket, it might as well be a post-coital scene straight out of Game of Thrones.

The next time (chronologically) we see them discuss food is when Aziraphale "tempts" Crowley with oysters in Rome. So Crowley first tempts Aziraphale with meat and then Aziraphale tempts Crowley with what is widely regarded to be an aphrodisiac. Interesting.

And then chronologically after that, the Arrangement begins to form, which has always reeked of a friends with benefits situation. Just to throw that in there.

It's What Humans Do

In the very first episode, we're shown Gabriel's obvious disgust and bewilderment towards Aziraphale eating sushi, calling it "gross matter" and being proud of the fact that he does not sully his body with it. Aziraphale initially tries to defend his own enjoyment in it, before passing it off as something that humans do, as something he simply has to do in order to blend in (which we know very well is not the case).

He does this again in season 2, passing off Nina and Maggie being in love as "something humans do". But it isn't, is it? Angels are beings of love, and can sense it, and understand very well what it is... up to a point. Even romantic love is obviously within their wheelhouse, given what we now know happened between Gabriel and Beelzebub (we'll come back to them).

What the "humans do" that angels wouldn't understand is messy, physical forms of love.

But here's the thing: Aziraphale and Crowley love doing what the humans do. They love drinking, they (or at least Aziraphale) love eating. They love music. Crowley loves driving and sleeping and watching rom-coms and sitcoms. Aziraphale loves reading and doing magic and earning little licenses and certificates for achievement in his various hobbies. They love to playact at being human so much that they've stopped playacting and started building a genuinely human lifestyle for themselves and with each other.

Once together in an unambiguously romantic sense, why do we think they wouldn't also want to explore one of the most prominent, intimate, powerful human expressions of love and desire with each other?

Angels, Demons, & Asexuality

Here's where I really want to clarify that in no way do I mean that sex is necessary for a healthy, fulfilling, and loving romantic relationship, or that the lack of desire for sex makes you any less human. Asexuality is a sexuality as valid and human as any. What I would say is that it is definitely in the human minority compared to allosexuality.

Angels and demons, on the other hand, are predominately asexual. Sexless/genderless unless Making An Effort. (Which, btw, is a concept introduced as early as the original book; why even bring it up as a possibility? Why not keep angels/demons being sexless/asexual as a hard and fast rule, if not to open up the potential for later use? Chekhov's Effort, if you will. And isn't that something that Aziraphale in particular is shown to do time and time again? He makes an effort in French and driving and magic, doesn't he?)

And this is why I don't believe Aziraphale and Crowley necessarily need to be asexual, narratively. There is already a huge amount of ace rep within the angels and demons (and no, not just the horrible ones. Muriel also doesn't "drink the tea" and has no reason or desire thus far to Make An Effort, and there are certainly other angels and demons who aren't horrible like the archangels seem to be who likely wouldn't Make An Effort either).

The central conflict for Aziraphale and Crowley is that they are on their own side, the ones who went native, the ones who are so different in so many ways from their respective hives. It would make sense for them to also break away from traditional angel/demon asexuality.

I say "traditional angel/demon asexuality", because I would also like to note that I would absolutely not rule out demisexuality for either of them. This post is being written to as a response to people who specifically believe that they (like the rest of the angels/demons seem to be) would be sex-averse in a relationship, and that it wouldn't be a factor in their relationship. I could easily read them as demisexual, but I do think there would be no real way of verifying this, because they've never been able to form as close an emotional relationship with anyone else but each other. Certainly not in heaven, and I can't imagine they would be able to form that kind of attachment with any of the humans, who they love and emulate but ultimately regard as the separate species they are. So yes, they could either be allosexual or demisexual, in my opinion.

Then again, now that I think about it, Making An Effort itself could be a great metaphor for demisexuality, since they would be entirely sexless/asexual until they have enough of an emotional connection with someone to consciously manifest otherwise. Since the other angels and demons don't generally form those types of emotional connections with anyone, there hasn't been a precedent for it.

Except...

Brielzebub

We do have a precedent for it now, don't we? Gabriel and Beelzebub fell in love. They are a direct foil for Crowley and Aziraphale's relationship, speedrunning right through their courtship and finding their happily ever after on the other side of things.

For being such a 1 to 1 comparison, it feels deliberate that they did not kiss. They held hands, they were gooey with each other, but they did not kiss. That feels like such a deliberate thing to omit when you know what's to come at the end of the episode between Crowley and Aziraphale.

And going back to the food = sex metaphor for a moment, let's notice how even as they fell in love over the years, even when pints and crisps were there on the table in front of them, they never felt the desire to reach out for them. They didn't need to. It's a date (love story) even if you aren't eating dinner (sleeping together).

Yes, I know Jim liked hot chocolate. No, I am not counting it because I don't consider Jim and Gabriel to be the same person with the same proclivities, and Jim was highly suggestible at the time anyway.

Gabriel and Brielzebub's big happily ever after moment (as of now) was one between two asexual supernatural beings. They did not need to kiss to drive the point home. They showed what Crowley and Aziraphale could have, if they would only acknowledge it.

Crowley & Aziraphale's Dissatisfaction

But they do have that already, don't they? If you really think about it, what do Gabriel and Beelzebub do with each other that Crowley and Aziraphale don't already? They hold hands, they spend time together, they create little rituals, they give gifts, they're visibly and verbally affectionate with each other, etc. They are more or less already in a romantic asexual marriage relationship with each other, aren't they?

And it doesn't seem to be enough for either of them.

At the beginning of the season, Crowley is immediately shown to be unsatisfied with the way things are. Obviously part of it comes from living in his car, but it seems to be more than that (especially since Aziraphale makes it clear that the bookshop is just as much Crowley's as his, implying that he could have been living there the whole time and is choosing not to, for some reason?). You could argue he's feeling unmoored without Hell telling him what to do, but isn't that what he wanted? Isn't that what he still wants, by the end of the season? All season long, he's never indicated the desire for a new job, or a new project. He stopped the apocalypse because he wanted the freedom to openly spend time with Aziraphale, to spend his time on Earth however he sees fit. Until Gabriel arrives, he has exactly that (minus a flat).

So where does the dissatisfaction come from? And if it represents anything to do with his relationship, what does he want out of it that he isn't getting already?

I think Crowley only really comes to the realisation of what he's missing when Nina names it for him, not only putting them in the category of romantic, but physical (outright asking if they are sleeping together). These two posts [1], [2] go into more detail about what I mean, but I think it really pushes him into acknowledging that their relationship is more human than either of them have stopped to consider, and what that might mean as far as everything a human relationship can entail.

After all, Nina and Maggie only advised that he should talk to Aziraphale, make clear his feelings. The decision to kiss him, to tip them over the edge from nonphysical to physical, that was all him. And no, kissing isn't sex, but I wonder how taboo even that might be in the kind of all-encompassing asexuality most angels seem to identify with. (If they're disgusted by food and drink, I can only imagine what they think of snogging, much less sex.)

Aziraphale doesn't have this moment of someone observing their relationship from the outside. He loves Crowley, and as of 1941 probably even knows he's in love with him in a way that Crowley doesn't understand yet. Which makes sense, since love is technically his job, he'd be more likely to recognise it for what it is.

However, Aziraphale's reference for romance and relationships is Jane Austen. It's chaste. It's dancing and dinner and doing sweet things for each other and roses and candles and handholding. He contextualises his love for Crowley in that soft fantasy sort of way, where it's there, it's obviously there, but it's neat and easy and unspoken. Not to quote Glee in this, the year of our lord 2023, but it's all very "the touch of the fingertips is as sexy as it gets".

Someone should tell that to Aziraphale's face, then.

I'm not going to pretend I know what Michael Sheen's script notes were, but there were definitely some Choices™ made. Because yes, there were plenty of moments in both seasons with Aziraphale looking at Crowley in a sweet, loving, smitten way. And then there were moments that were yearning.

But yearning for what, exactly? All of those sappy Jane Austen tropes already apply to the two of them. So why are there moments where Aziraphale is looking Crowley up and down like the last eclair in the window and licking his lips and visibly exhaling like he's trying to get in control of himself (see: Bastille scene + Crowley telling Muriel to ask him if they have any other questions about love)? Why is Aziraphale not only unconcerned when Crowley shoves him bodily up against a wall in s1, but staring at his lips and a beat too late in noticing Sister Mary's arrival? Why are some of his lines so suggestive? I'm sorry, but the car ride after the church explosion might as well have been the beginning of a Pizza Man porn with a really weird Blitz theme. If even my mother picked up on that vibe, I can't imagine it wasn't intentional on part of both the dialogue and the delivery.

(This section may feel like more of a reach/joke, but I'm really only 20% joking. These are writers and actors who are EXTREMELY good at their jobs; they know what they were doing here.)

More importantly, I don't think Aziraphale is even aware that there is more to what he wants. He lives in the Jane Austen fantasy and it never even occurs to him that he might be interested in anything further. It never even occurs to him that, as an angel, there is anything further to be interested in in the first place. Until Crowley forces it to occur to him. Just like I believe Nina forced Crowley to confront the idea that romantic love is what he's been feeling all along, I believe Crowley forced Aziraphale to confront the idea that physical intimacy is something he's been wanting, without even realising.

Aziraphale's Hedonism

Expanding on Aziraphale for a moment. We talked about his relationship with food, but we all know that Aziraphale is defined by his love of things that Feel Good.

It isn't just that he and Crowley love human things. Aziraphale loves the best of the best, or at least his version of it. He doesn't just love food, he loves going to fancy restaurants. He doesn't just love clothes, he loves soft, cosy, warm, plush clothes, or shiny, flashy, bougie fashion. He loves the warmth of tea and cocoa, loves getting drunk, and sitting in a comfy chair in the sunlight. He doesn't just experience, he indulges.

Given the emphasis put on things that Aziraphale loves just because they Feel Good, it feels narratively strange to assume that he wouldn't enjoy the feeling of being touched, or that he wouldn't be willing to try it, at least once, with someone he cared very deeply for. And just like the ox rib, I think that once he gets the first taste of things, he would absolutely tip over into complete and utter self-indulgence.

Dancing

I also think that dancing could be construed as a huge metaphor here. After all, we're told flat-out that angels don't Dance. Except one.

I would argue that Aziraphale, in fact, Made An Effort to learn how to Dance. He threw himself into the gavotte with delight (at a Victorian gay club; noted) and worked hard to be good at it. He's chomping at the bit to Dance with Crowley, working up the nerve to ask him with undeniably romantic intent and eagerness. So, angels don't Dance... unless they Make An Effort to do so.

We are told that demons, on the other hand, do Dance, but not well. Makes sense, since they're the ones who would want to encourage a deadly sin like lust, but have as little understanding of human love and physical intimacy as the angels. Crowley, however, is shown to be an excellent dancer at the ball, especially in his compatibility with Aziraphale.

(But Aziraphale WandaVisioned the ball so everyone knew how to dance! Yes, he did. However, the rest of the brainwashing doesn't seem to affect Crowley in any way, and they did actually live through the time period where this sort of dancing was a social norm; I'd be surprised if he never needed to learn. After all, the demons can't spell either, and Crowley is at least functionally literate, as far as we know.)

As of today, it's also been confirmed that when Aziraphale asked Crowley to dance, Crowley replied with "you don't dance." Not "WE don't dance". So going along with the metaphor, Crowley is just now discovering that Dancing is something Aziraphale is interested in at all, much less with him, and not denying that he himself is interested in Dancing. In his defense, I believe he was asleep for a few years while Aziraphale was learning the gavotte, so he wasn't exactly aware of Aziraphale's hot girl summer.

Love Languages

I want to expand on that; Crowley and Aziraphale's compatibility. Specifically in regards to their individual love languages.

We all know Crowley's love language is Acts of Service. I don't think there's any debate there. He loves it, Aziraphale loves it, they're both aware of it, we're all aware of it, God and Satan are aware of it, no surprise there.

You may disagree with me, but I believe Aziraphale's love language is Physical Touch, for a number of reasons. One of which being his aforementioned hedonism. Aziraphale likes things that Feel Good, remember? He likes soft clothes, and well-worn books. Neil himself has said that they like holding hands. And any time he is taken by surprise (Brielzebub getting together, the wave of love in Tadfield, etc.) what is the first thing he does? Reaches out for Crowley. He stops him with a hand to the chest in the pub. He leads him by the hand to the dance floor. He guides him by the waist in the graveyard. He reaches out during the entire Brielzebub scene, whether he can reach Crowley or not. Despite his own turmoil, he grasps at Crowley's back during the kiss.

The one time Crowley reaches out for him (not counting the kiss yet; we'll get there), he is aggressively pushed against a wall (by someone he loves and trusts) with a complete and utter lack of concern (and perhaps some interest, depending on how you read it).

And when he isn't reaching out for anyone, or there isn't anyone to reach out to? Well, he's wringing his own hands together, squeezing his own fingers, as if to find that physical comfort in himself.

So. With that theory in mind, we have Aziraphale (Physical Touch) + Crowley (Acts of Service). Throw in 6000+ years of deep love, cherished companionship, and forcibly repressed longing, and there is a very real potential of this combination resulting in fierce sexual compatibility. Where Aziraphale would want to touch and be touched, to indulge in physical pleasure with someone he adores, in the same the way he indulges in every other fine thing in his life. And where Crowley would want to indulge him in return, to give him everything he wants, and to take pleasure in Aziraphale's pleasure, in the same way he enjoys watching him take joy in food everything else.

So Aziraphale is an angel who is insecure about his own less-than-holy desires, who would want to treat Crowley like a luxury to be touched and cherished and adored. And Crowley is a demon who has, over the millennia, been unhappy about how they've been forced to deny even their friendship with each other, who would want Aziraphale to feel comfortable and safe and encouraged to indulge in earthly delights. That sounds like a stunning recipe for sexual compatibility to me.

"You said 'trust me'" / "And you did"

Just like the Job minisode, the Blitz is RIFE with symbolism (intentional or otherwise). This one will be quick, but I did want to touch on it because I thought it was interesting. Maybe I'm reaching at this point, but I'm assuming you read the tin.

First of all, Crowley not wanting to admit to never firing a gun before; comes off as someone who very much does not want to admit to their crush that they're a virgin ("You must have done this lots of times!" / "Umm.... yyyyyeah.")

(You could make the argument that Aziraphale having a firearms license and a Derringer in a hollowed-out book is symbolic of him not being a virgin while Crowley is. I disagree, for reasons I'll go into later, but it's a valid reading. However, I see it more like keeping a condom in your wallet; it's there in case you need it, but the opportunity has not yet risen no pun intended.)

More importantly, the theme of this entire minisode is trust. We already know they trust each other with their lives against the rest of Heaven, Hell, and the world. But specifically, this is about the importance of having complete trust in your partner in a charged, physically vulnerable, intimate moment, where the only danger is between the two of you.

Aziraphale needs to believe Crowley would never hurt him if he can help it. Crowley needs to trust Aziraphale's unwavering blind faith in him. Frankly, it all feels very symbolic of two people deeply in love losing their respective virginities with each other.

The trick is a success, and they share an intimate candlelit dinner in which they reaffirm their faith in each other. Aziraphale also begins to voice his agreement with Crowley, that maybe Heaven's rules shouldn't have to be as black and white as they are, and that there are benefits to... blurring the lines, shades of grey, wink wink (at which point even my mom was like, whoa guys, this is a family show).

Btw also: Can we all agree how much it looked like Crowley was getting ready to get a lapdance in that one scene? You know the one.

Also also: "Aim for my mouth"? Come on.

The Birds & The Bees

Now that I think of it, there's also something to be said for the fact that Crowley and Aziraphale are both obviously familiar with where babies come from (how they're made and how they're born) while the other angels aren't.

Something something Aziraphale and Crowley fundamentally understand sex and reproduction in a way the other angels (and probably demons) very much do not, nor have any desire to.

Probably not important. Just thought it was worth mentioning.

The Kiss™ & Religious Trauma

The Kiss. Where to even begin?

This has definitely been the hardest one to start, because there is so much going on here that I definitely won't be able to cover it all, and will certainly miss a few things here and there.

Aziraphale's reaction to the kiss afterwards is the most interesting to me. And I don't mean directly after, I don't mean the "I forgive you" part. I mean the way he touches his lips when Crowley is no longer in the room and he no longer needs to save face, when he is completely alone. Had it been directly after the kiss, it would have been rightfully read as horror, or disgust, a shield to discourage further action.

It's not. It isn't just a touch, it's a press. As desperate and angry and unexpected and imperfect as the kiss had been, Aziraphale is pressing it into himself, recreating the feeling as best he can. Beneath all the poor timing and shock and hurt from their fight and fallout, I think it's fair to say that it was something he enjoyed. Something he doesn't think he should enjoy, something that Feels Good that he only allows himself to indulge in when completely alone.

Remember, Aziraphale's idea of love is Jane Austen and gentleness and courtship and fantasy. If he'd ever even considered kissing an option, it might have been gentle pecks, cheek kisses, forehead kiss, hand kisses. Soft, safe, chaste affection.

Crowley's kiss turns all of that on its head. He introduces physical intimacy in a very real, very messy, very human way that I don't think Aziraphale ever even considered could apply to them. Considering what other angels are like and what they look down on, even Aziraphale's Jane Austen fantasies probably would have been considered taboo.

So for their first kiss to be rough and desperate and passionate in the way it was, of course he was confused and in shock. It was deeply physical, and as overwhelming and awful as it was in the moment, it Felt Good. Enough that he grasped at Crowley and kissed back, if only just for a moment, before stopping himself. Enough that he actively pressed it into his lips afterwards, in private, to remember.

I adore how Neil has decided to evolve these characters past the first book/season. More so in this season, Aziraphale and Crowley have both become such interesting allegories for queer people on either side of the spectrum of toxic religion. Aziraphale in particular obviously, because he is the side that so desperately wants to believe, to make a difference, and to unlearn all of the propaganda he's been fed over such a long time. Just like so much of organised religion, there is so much that he is told, time and time again, that he should not want, that he is silly or stupid or outright wrong for wanting. It reminds me so much of the severe Catholic guilt one might feel for wanting/engaging in sex for the first time, and the stigma of being queer layered on top of that.

What is so critical to Aziraphale's character is that he goes on wanting, and more than that, actively pursues. He was convinced to go up against Heaven and Hell and stop all of Armageddon because he wanted to go on listening to music and eating lunch and reading books and enjoying the simple company of the person he cares most deeply for, even if that person is supposed to be the enemy.

All this to say that if angels are as generally asexual/sex-averse as I believe them to be, narratively speaking, it would make sense for Aziraphale to be singular in that regard as well. Mirroring his first experience with food, it would make sense for Crowley to be the one to first introduce this new messy, physical, human dynamic between them, for Aziraphale to hesitate (obviously we are at the Hesitation phase at the moment), and then (eventually) for him to dive in wholeheartedly, to absolutely glut himself on this new thing that Feels Good. It would make sense for his character development to show him overcoming his metaphorical Catholic guilt and pursuing the sexual intimacy most (if not all) of the other angels would scorn.

(I can't help but remember that plot idea Neil described from the unwritten sequel, with Aziraphale in a hotel room trying to watch a full porno by way of the free 2-minute teaser clips so he wasn't technically sinning by paying for it. I so hope this is used in season 3, because gosh, I wonder why Aziraphale would suddenly be so interested in observing human physical intimacy after 6,000 years. Lonely and doing a little surreptitious research there, angel?)

Crowley, on the other hand, is the queer person who has broken free from his toxic religion. He prides himself on being his own person, on their his own side. He doesn't have the hang-ups Aziraphale does. He doesn't worry that he's going to be judged or cast aside for wanting things he's not supposed to. So it only makes sense for him to be the first one to suggest/initiate physical intimacy. It makes sense for him to be the one who "goes too fast" (another fantastic example of this dynamic beginning as early as s1; what is that conversation in the car meant to represent, if not Aziraphale being overwhelmed by the intensity of their relationship, and his fear of succumbing to it when he believes he shouldn't? It's also interesting that this is the first conversation to take place in Soho, just after watching Aziraphale realise he's caught feelings for a demon, with the red glow of lust serving as the backdrop).

Do I think the kiss in and of itself was sexual? No. I think it was a passionate and devastating last-ditch effort on Crowley's part to convey the way he feels for Aziraphale. Not just that he loves him, but that he loves him in the most human way possible. But I do think that the kiss represents how they can move forward from here, and what they might want to explore with each other once they feel free enough to do so.

In Conclusion

I am sure, deep in my bones (unless we are explicitly told otherwise), that this was both of their first kisses no, I'm not counting the gavotte, and that neither of them have ever thought to do anything else physical with the humans while they have been on Earth. Like I said before, they adore the human race and lifestyle in general, but ultimately view them as a separate species altogether, and they seem mostly happy to keep to themselves and each other, unless otherwise necessary. I just can't see either of them being drawn enough to a human to pursue anything close to sex. If Crowley in particular has had anything to do with sex in the context of temptations, I'm positive he would be inciting lust amongst the humans themselves, not involving himself directly. At least not that directly.

So, like every other human experience they've had on Earth, sex is something new that they could explore together, just the two of them, on their own side. A deeply intimate, tangible declaration of their love and everything they've gone through to earn it. A visceral finger to give both Heaven and Hell. A renewed appreciation for their corporations and for each other's. A enjoyable method for immortal beings to simply pass the time in each other's company. A new and exciting way to Feel Good, and all the variations that come with it.

You might agree with this post, or you might not. Whether this is something that is ever addressed or not, it doesn't matter to me. This is a brilliant love story either way, and I genuinely feel so privileged to witness it.

But I just can't find it in myself to imagine, given everything we know about these two characters, that sex isn't an experience they would both consume with wholehearted enthusiasm, curiosity, and profound, ineffable adoration.

___________________________________

Bonus feature: the very silly notes I made to myself that inspired this post

[tryslora]

Disability in fiction

This was a tough post to write. 

I saw a post about disability rep, and I kept thinking about it, and wanted to share my own takes on the topic. 

I thought about it for days, trying to figure out how to word it. Then after drafting it, I stuck it in a file for a couple of weeks, trying to decide if I could even post it. This is not a topic that can be boiled down to a simple yes/no kind of answer.

Let’s start with two examples.

1 - I have a short story I started writing (it wants to grow up to be longer, so it’s waiting for time) where my original concept was to write about an older woman who is short and has major chronic pain, and I wanted to dig into fantasy reasons why this pain exists, but at the same time, have her be able to kick ass despite being exhausted and dealing with excruciatingly painful issues.

2 - I once drafted a portal fantasy storyline wherein a young man was transported into a fantasy world, and when he was given a horse to ride, he approached it very warily. He was encouraged to mount, did so, and sat there and exclaimed in shock, “My brain isn’t exploding with snot!” because his allergies hadn’t come with him into the body he had in the fantasy world.

Both stories were designed to be fun, a bit light, maybe even cozy.

So.

In one case, the disabled character remains disabled and kicks ass anyway. And in the other case, the character is magically “healed” and no longer has debilitating allergies that had wrecked his way of life.

This is the difficult part to express: I think both storylines are valid.

Bear with me while I dig into this.

First and foremost: I completely agree that we need more representation in all forms of fiction, especially when it comes to disabled people being able to live their lives. Characters with missing limbs, or non-neurotypical brains, or anxiety & depression, or hearing issues, or sight problems, or chronic pain, or… or… you get the idea. We need all of it, and we need it to not need to be magically healed in order for a story to be considered happy and cozy. Disabled people can be happy, too.

I’m all in for this, and I wouldn’t write the stories I do if I weren’t.

However, there are also moments where I am so exhausted by my body and by everything I deal with inside of it where I do wish for that magical ability to forget that my pain exists. Or for the ability to actually process information in a straight line, or make decisions without writing a hundred lists and accomplishing nothing from them. Or to be able to lie down in a field of grass without regretting it for days while I drip snot and fight sinus-pain-induced migraines.

Sometimes I want to imagine that my life is different.

And that is one of the joys of writing. I can choose to write a story where people like me or the people I know are the heroes/heroines exactly as they are, different abilities and all. Or I can choose to write a story where the problems magically resolve.

Both can be cozy, sweet, and adorable. I can give the character with chronic pain the ability to kick ass, take names, and have a sweet reunion with her ex-girlfriend. I can show all the ways that my disabilities may define how I handle my life differently than someone else, but do not define what I can and cannot do.

But I can also daydream about a life where it’s different, the same way I can daydream about having wings, or being able to teleport. For me, imagining a day with no pain is the same as a day where I can walk through walls. It is absolutely a fantasy, and about as likely to happen.

Here’s the thing: It’s okay to be angry to see what looks like disability being erased. It’s okay to wonder why the author did that, why they magically healed someone instead of letting them be who they were. But at the same time, maybe ask why, and what point of view it’s coming from. Or look a little deeper into the story and how the resolution occurs, and the effect it does have on the character (I suspect that were I to suddenly have a day of no pain, I’d be intensely reckless, given what an idiot I am while IN pain, y’know? And WOW would I regret that later…).

And for authors, think about what you’re writing. WHY is this particular event (keeping disability, erasing it, whichever or both) happening, because the reader will take note of it. They may see things that weren’t intended, but are there as unintentional biases.

Make conscious decisions for why things happen.

Someday I want to get back to both of those examples from the start of this post; I still like both concepts. But I’ll be writing them for very different reasons, and both will be healing my soul in different ways. Different kinds of daydreams. And again, I think that’s valid, too.

[starlight-bread-blog]

Why Stolas is a Terrible Person/Character

Oh this will be long. In this post I will cover why Stolas is a character that fundamentally fails at everything it tries to accomplish. I probably have to say that you can love Stolas. That's just why I hate him.

Trigger warnings for: Racism, casteism, power dynamics, sexual assault, sa apologism, abuse, and neglectful parenting. A lot, I know, but that's Stolas.

His Actions in S1

Despite the title, there will be two examples from season 2.

Racism/Casteist

Stolas is from the upper caste, a royal. He seem to often fetishize imps, or the fact that he's sleeping with someone who's less than him. I even saw fans pointing this out. He have empathized Blitzø being an imp in a sexual context.

(Notice the use of words: "little", "plaything", to me this is blatant racism and fetishism).

He also showed a certain lack of empathy for his imp butler.

Stolas isn't particularly violent, he doesn't choke people left and right. He's just angry, at Stella, so he decides to.. choke the imp.

Stolas has been dehumanizimg imps. Fetishizing an imp for being an imp, calling him an "impish little plaything", and he has been willing to choke an imp just because he was angry at something unrelated. He's racist and casteist.

Treatment of Blitzø

"Treatment" is putting it lightly. In the first episode, Stolas does something inexcusable that will taint their dynamic for all of season 1. First, he sees Blitzø in a vulnerable position, where he cannot think or negotiate. Thus, stripping him of what little choice he has on what he's about to offer.

What Stolas is saying is, "Fuck me or I'll shut down your business". This deal he makes is just a threat with extra steps. Which, is a real life abuse tactic called Quid Pro Quo:

"Quid pro quo harassment occurs when someone in a position of authority over another directly or indirectly demands sexual favors in exchange for some benefit, or to avoid some detriment in the workplace".

One element I haven't brought up yet, is the political power imbalance. Stolas is royalty, one with a lot of power, influence, credibility, etc. Blitzø has non of that. Other characters have commented on that the fact that Blitzø even has a business is a miracle.

There are so many layers of imbalance and how Blitzø has no choice or agency. A royal is """offering""" the powerless a Quid Pro Quo while he's in a life threatening situation.

And their dynamic looks exactly like you'd imagen. Stolas is consistently sexualizing him against his consent. (As it's been established, Stolas's racism feeds into this). And refuses to do the surface level courtesy, not even calling him his real name (x).

Stolas treats Blitzø as a lesser being, violates his boundries, forces himself on him, and strips him of all autonomy.

Faliure as a Father

Stolas's role as a father is directly tackled in Loo Loo Land and Seeing Stars. At the beginning, both episodes show Stolas being a good father to Octavia, but does this still hold true in the currect day? Well, no.

In Loo Loo Land, Stolas wants to take Octavia to a theme park. Octavia is 17, and Stolas ignores her when she says she doesn't want to go. (In retrospect, Stolas coud be oblivious because he's projecting onto Via his experience meeting Blitzø).

But that's just the start. Stolas then invites Blitzø to the trip and harasses with him all throughout. Essentially, Stolas is forcing his daughter to watch as he harasses "the homewrecker", all the while he's supposed to be with her, on a trip she didn't even want to go to.

After a whole day of this, as expected, Octavia runs away. Stolas chases her. (And of course, he's still thinking of Blitzø on his way to find Via). There's an apology scene that looks deep, but when you dissect it, it's rather empty.

Stolas never actually provided an explanation as to why he just did what he did, nor of the "drama" with Stella. There is nothing here. Octavia only makes up with him because he said he isn't gonna leave her. Which is bare minimum.

After he realizes that his affair hurts his daughter to the point where she feared he's gonna leave her, what does he do? What practical actions does he take to improve? Divorce Stella? Cut off his deal with Blitzø? Explained the situation?

Nothing. And now we see he's willing to stand up on a stage and let people know.

In Seeing Stars, Stolas bashes Via's mother to her. Which, does she know about their situation? Does she not? She isn't shown to hate or.. anything Stella. Is he hiding the situation (which I'll cover), while also trashing her mother? That's impulsive and negligent.

But that's nothing. She later runs away, Stolas is stressed as he should be, but the second they arravie on earth he's all calm and everything's normal.

When his daughter is missing. When he is shown to be stressed, it's for the sake of plot. But he's willing to just chill, watching Blitzø's show.

Stolas is, dare I say it, neglectful. He might care about his daughter, but he's proven that she's not enough of a priority to focus on her when it matters.

Cheating

Yes, I know what ended up being revealed, I'll cover that. In season 1, the relationship is presented to not be perfect before Stolas cheated.

But there were instances that showed that what Stolas did changed their relationship for the worse. (Some additional rebuttals).

It could have been a loveless marrige, they could hae fallen out of love, they could have been arranged. But their relationship was manageable. Love or no love, it's a committed relationship. and Stella didn't deserve to get cheated on.

Who was Stolas?

Stolas's behavior is common among royals. Stella has no problem throwing said butler at Stolas (S1 E2), and the Goetias are shown to be casteist. They're untouchable privileged assholes.

Stolas was born that wealth, never having to suffer the consequences of his actions. Always putting himself first, hurting others. He doesn't mean to, he wants for everyone to be happy, he does care.

However, when it actually matters, he acts on his worst tendecises with no self control. He never had to learn self control. That is, until Ozzie's.

Before Ozzie, Blitzø and Stolas are at obligation. Stolas's actions had tainted them. There was one redeemable moment: He saved Blitzø's life. Stolas did something for him. But this one act of goodness doesn't magically fix anything.

Stolas's family life have been escalating. Stella hated Stolas for cheating and his daughter just had to take it. In Loo Loo Land, he learns the full weight of the damage he caused. And in the next episode we see him, he proceeds to take no steps to improve the situation. In the end of that same episode, we learn that Stella hired an assasin after him. Because he did nothing.

The season 1 finale, Ozzie's, is aware of all of this and absolutly delivers.

The episode starts with seeing Stolas alone, in his big house, miserable. It appears that Stella finally left the house. (Also he later says "Octavia is with her mother this weekend"). He's eating a bowl of cereal, pitying himself, wallowing in his despair. You feel bad for him, he looks so torn down.

And then Blitzø calls. The one he loves, asks him on a serious date. It's hope, it's honest, and it's exactly what he wanted. It's almost as if the universe handed him is fairytale scenario.

Almost. Reality smacks him right in the face on that date. Asmodeus calls him out on losing everything he had. He had a family, a happy daughter, but gave it all up for an affair.

Blitzø calls him out on treating him like a pet, not earning any of that emotional connection he wants or even communicating it, just violating him, they have nothing.

The show held him accountable and called him out. While it's not perfect, Stolas is a morally grey character. Now, a character arc was set up where he learns to treat people better. Stolas is exactly the character I want to see from a show like Helluva Boss. He's a horrible person, but nuanced, who does care.

Season 2

Yeah... all of that is thrown out the window. Because apparently, Stolas is just imperfect. He simply made a lot of mistakes. He misread a lot of situations, really it's all just an accident. He's an oblivious victim. So, let's get into the woobification of Stolas.

Surrounded by Evil

In The Circus we're given Stolas's ✨️backstory✨️. And we find out he had such a terrible life.

Stella is, and always was, an abusive evil bitch. From the day she was born. Pure evil.

So you see, Stolas did nothing wrong. Let me be clear, you are not obligated to stay loyal to your abuser. We can erase "cheater" off the list. But that's the only reason why it's done. So we can erase that off the list, and that we could feel oh-so-sad for him.

Because Stella isn't written to be an abuser. She's a cartoonishly evil. We see a picture of her as a kid where she's the same person. Spongebob villians have more depth than her, you know, the abuser in the adult show.

Helluva Boss reversed an established dynamic where Stella is the victim and Stolas is at fault, except without any of the depth or nuance.

But that's not all. Stolas's dad (Paimon) is also neglectful. By "neglectful" I mean, of course, a Saturday-morning cartoon villain.

He doesn't remember his name. This is such bullshit. I can buy Stolas having a horrible father. It's also not bad to show Stolas's trauma. What is bad is that the subject matter is handled with less seriousness as the fish fight in Spring Broken. And Helluva Boss did write Crimson as a serious abuser, the episode did have comedy, but not Paimon.

The reason why all of this is happening, is so we could feel bad for Stolas. They do zero of the work to earn a good story about abuse, but still go "Do you see how sad he is? Look at how they're treating this poor baby!!"

"Recontextualization"

In said ✨️backstory✨️, we also learn that Stolas and Blitzø are childhood friends. But also not really, they just hung out for one day. Where did this come from? How does that enrich the characters? I would tell you, but I don't know. However, what I'm sure of, is that it's done to make Stolas look less problematic.

DO YOU SEE HOW CUT THIS IS? He isn't just horny for that imp, he is special, it's absoultly pure! Don't worry, totally safe.

Later in the flashback, we see how Blitzø and Stolas reconnected after over 20 years. Apparently... Blitzø was the one who sexually manipulated Stolas, selling him that he wants him.

All Stolas did was just buying into Blitzø's narrative he was imposed on. It's a role he leaned into, because he thought Blitzø liked it. I.. WHAT???

If this horseshit is true, why did he make this weird r*pe deal with Blitzø? If Blitzø was the one who acted like he's interested at first, and he was sexually exploiting him, why did he lash out at Stolas in Ozzie's? Did it just hold no weight for Stolas? It went from "Don't pretend to have something when you've been harassing me this whole time" to "You misunderstood".

The Stolitz backstory makes no sense, it's cheap, and fixes nothing. No matter what the story is trying to sell, in season 1 Stolas knew what's happening enough to try to force it. And maybe Stolas wanted Blitzø because of a connection, he still harassed, dehumanized and violated him.

Note: Stolas realizing "he imagened the relationship" is completely ignored one episode later in Seeing Stars. This is a huge deal, didn't he learn? Just further evidence that he's willing to violate the guy. (x)

Before this backstory, we had a story of a selfish man hurting the person he loves while explointing the broken system and the power that he has over him for his own selfish desires that he's forcing on him. Now, we have the same thing, but with fanfic tropes – and the story refuses to confront that.

Casteism is Brushed Off

Helluva Boss pretends that Stolas isn't racist, because he didn't want Blitzø for being an imp, but for being his fanfic trope childhood friend. Which fails to adress the disgusting fetishism of Blitzø for being an imp, and he also continued to dehumanize his imp butler in Seeing Stars. He's still racist.

Imperfect Father

In The Circus, Stolas devivers this line: "The only reason I have endured your constant insults and cruelty, was for that girl to have a normal life".

Sounds impressive, he stayed all these years just for his daughter. But that's the thing – it sounds impressive. Every time their relationship is the focus, Stolas is being the scum of the earth. What I see here, is a person. A person who despite being willing to stay passive, acts on his his selfish wants, forgetting to look around him. Mind you, this fact is also being revealed one episode after Ozzie's.

But no, one episode later, in Seeing Stars – that was covered as a prime example of everything I just descriped – Loona says this:

Yeah. He's just a good father "trying" his "best" and makes some.. "mistakes". The Circus did present Stolas as this, but Seeing Stars really solidified how his parenting will be handled moving forward. And I think it's comlete and utter dogshit.

Damsel in Distress

The title is a bit misleading. This section is mainly about Stolas's power being toned down. Both magical and in presentation.

In season 1, he was energetic and enthusiastic, while being able to set his foot down and intimidate when needed. He's still all of those things, but in some instances his characterization made my raise an eyebrow.

In Seeing Stars, he's being weirdly gentle with people kidnapping Blitzø and are later beatting him.

In Oops, he's excited to start negotiating with literal kidnappers. I have no idea why he's so nice.

(He did harass Blitzø again in Seeing Stars and bashed Striker, all of which isn't soft, but it's also the two moments where he should have shut up).

Further more, both of these conflict rely on Stolas not using his powers for some reason or another. Why didn't he just do whatever he did in Truth Seekers to track Fizz/Via?

About Via, I'm gonna have to call bullshit on the "My powers are limited on earth" nonsense because, for starters, kid Stolas is shown to remember the contents of his books and now he's been studying them for years. And two,

There is no excuse for Stolas to not use his powers and whenever the show says otherwise it's bullshitting its way out of it.

Even in Western Energy, before Stolas gets captured he was just aimlessly going in and out of his demon form. Why didn't he turn him into stone like he did in Loo Loo Land?

Stolas has been presented as weaker than he is. He's made to look more vulnerable, less "above it all". He was untouchable, and when he wasn't, it had a harder impact and made sense. Now, I almost forgot he's a powerful demon.

And his characterization is at the core of this issue. At times he's just so kind and gentle with people who should get smacked in their heads.

What about Ozzie's

The big clash, the one that called Stolas out on everything, the one that set him on a genuine path to grow, what about it? How is it adressed while the show tries to pretend he's a good person?

No, not the message Stolas is looking at, the ones in the background he just scrolled through.

I'm not breaking this down. I refuse. The only reason I put it here is to show how fast it goes. I'm not touching that.

Who is Stolas

Stolas is a moral scapegoat – "a character that is bad, but the book/movie/show portrays them as good". It's characterized by the story twisting itself to make one character look good.

Stolas didn't start out as one, but became one over one season premire and it just kept escalating from there.

Helluva Boss takes place in Hell. A horrible place filled with horrible people, the root of all evil. Stolas fits right in there. He was already problematic, awful, fed into Helll's broken system. Why trying to cover up his faults? It's Hell, and it was great. But now, we're supposed to pretend he's just flawed.

With the show actively ignoring everything he did, what's left for him? What does he have to learn? How will he grow as a person? How will he improve? What's his character arc? It's nothing. Because everything that happens to him isn't his fault, and at times could just be solved with one conversation.