#from rigid to flexible

[skythesnake]

Having thoughts about Moash and the flack he gets, not as a person, but as a character.

Spoilers ahead for the whole stormlight archive.

To start, I hate him deeply for his person. I think he deserves eternal exile on Braize for what he's done. I fully align with the Fuck Moash mentality. That said, I genuinely like him as a character and for the role he plays in the story. I'm not a professional at literary analysis, but I do really like to deconstruct stories in the context of how it fits together. I apologize if I get terminology wrog and I would welcome a discussion, I'm curious to see rebuttals and agreements to my points.

Moash is a villanous foil to Kaladin's heroism. I’ve seen comments on the fact that he, the only one who seems to *keep* pushing on social change is the villain. I think that's almost completely incorrect, and it also ignores the ideology that Moash pushes. First, he isn’t the only one pushing for societal change. Kaladin may stop hating ALL lighteyes, but he, as a darkeyed man, gains some of the highest respect - which alone changes the dynamic at least a little. And he doesn't conform to the current ideals, which sets a precedent and an example to everyone else. Jasnah is also noted to be changing policy regarding slaves, and Dalinar wrote a whole damned book. This is slightly different from darkeyes vs. lighteyes, but the point of that power struggle is that discrimination based on an arbitrary fact - no matter how "good" your reason - is bad. Progress is progress. I want to make it clear that I'm in no way saying that it can't or shouldn't move faster. I'm not implying that people don't need to wake up and check their own prejudice. But I *am* saying that when you grow up a certain way, spend your whole life that way, it's hard to change, even if it'sjust because it'shard to admit when you've done and said some icky stuff, as Brandon Sanderson himself knows.

I also dislike the idea that Moash isn't the villain for having this ideology. Because, yes, to a certain extent, it's correct - wanting equality is important and good. But, the thing that I don't see acknowledged is that Moash doesn't want equality, he wants revenge, which means the conversation is entirely different. Would he be happier if there was equality? absolutely. But as he shows, time and time again, is that all he really wants is to make other suffer like he has. And I think it's important to acknowledge why.

Something that is conveniently forgotten by most people (including me, at times) is that extremism is Bad. You see this in the book with Kaladin's mentality of destroying himself to protect others, you see it in Shallan ignoring all her problems, and you see it, most glaringly, in the Skybreakers, specifically Nale's version. Moash /began/ with a deep desire to do what was right, to bring about justice and equality to those around him. But as he grew more bitter, that narrative twisted and turned into revenge. It turned into an equally bad idea that is VERY common in real life, "They have harmed Us and therefore They are bad and We are good." Which is the very thing that Kaladin has to overcome!

Another issue I see is that Moash isn't very nuanced. He's called flat, and boring, with only ome goal. I disagree for a few reasons. From an in-universe perspective, he is that way /intentionally/. At the end of his arc, when he's Vyre he is purposefully shoving progress aside. The reason he's so morally flat is because he actively chose to be. He answers every question with one answer and you can see that because when Odium's protection goes away, he has a crisis! He has a meltdown that results in him blocking it out in the same way. He cannot handle the idea that he might be wrong anymore and so after his magical protect is gone, he puts up mortal ones, which are in some ways, even tougher to break. But aside from that, he isn't flat in the beginning! He starts as a very human character, trying to get justice and ending up in the wrong situation. He laughs and chats with his friends, he develops a genuine connection to Kaladin and the flattening of his morality is completely intentional on his part.

From a writer's perspective, moash can't really be redeemed - which I see some discourse on - because he is a direct foil to Kaladin. He's a mirror villain, two very, very similar people who started at nearly the same place and grew in opposing directions because of how they reacted. Moash is a good antagonist to Kaladin because they are so similar. The only difference between them is that Kaladin looked at their broken world and decided he was going to fix things by helping them grow in a better direction, knowing that would take a long time, while Moash looked at their broken world and decided he needed to fix things by burning the whole thing down and starting over, because anything less would be too slow for him

I just got frustrated with seeing people dunk on how Moash was written without examining why he was like that, both in-universe and out. Yes, there are issues, like every piece of art, but I thought the way he developed alongside Kaladin was actually quite cool, and while I wasn't pleased with how things ended (I had to close the book and take a break when Teft died) I was satisfied with it, because it felt natural for things to come to that conclusion based on the paths they were both on.

[angsttronaut]

I don't think they will, but I'm really hoping the Erins drop each arc having 3 POV characters who get equal amounts of screentime in each book. A Starless Clan could've been a lot stronger if Frostpaw had got more screentime, with Sunbeam and Nightheart getting less chapters (tbh I think you could get away with cutting out Nightheart POV entirely).

[llycaons]

makeup is like... too much work and I don't like how it looks either. every fucking day? I tried it in college and I don't like the feeling of it on my face. but also the fact that we're expected to wear it makes me insane and contrarian. and also the sense of 'well they're not going to like me anyway even if I do this so I might as well just be myself and comfortable and find people who vibe with me instead because I'm incapable of being anyone besides who I am' <- can't mask and it's a little alarming sometimes

[craptainkirk]

If it's just one person calling you stupid then sure enough theyre saying it because they need you to seem worse standing next to them so they feel better about themselves in comparison. Even if they have to manipulate reality itself to make it true. And do you know who would do such a thing. A stupid person

[duskargentum]

One thing that really had to grow on me about KCD from the first time I played it up through all the times I had to play it was the fixed protagonist. Many RPGs these days allow you to create your own character, their appearance, their personality, their skillset, etc., but there's always a slight disconnect, which I think people realize but tend to look past. The disconnect, of course, is that, when you play these custom characters, you are inhabiting a husk and forcing your decisions onto it. This means that the design of the game, from the dialogue options to the character builds to the level of connection to the other characters in the story, they're all at odds with the vision the player has in their head of how the game is being played. In other words, in being able to inhabit a character in a story, your making those decisions WITH them, and not OVER them. KCD railroads your character customization to the point of not being able to choose your own name, appearance, personality, character build (to an extent), and forces you to *become* Henry of Skalitz. Dialogue always seems like something Henry would say, the different skills all seem like things Henry would spend his time doing and improving, characters always seem like the type of people would have connections to. Henry is not inserted into this game world in the same way a custom character would have been. He lived in it, he forged connections, he built character motivations, he experienced events and formed opinions on them. The canon of the story is not always at odds with the perception of events that each player has. Granted, this means that Henry's life and feelings and experiences will almost always be the same, but it does mean that you get to live it all alongside him, instead of instead of him.

This maybe isn't so much a strength of KCD in particular and may be more of a commentary on fixed protagonists in RPGs in general, but I will give the credit to KCD that it does it well enough that it inspired me to form a more cohesive opinion on the difference between a fixed and custom protagonist in an RPG.

[opens-up-4-nobody]

...

[phoenixcatch7]

Fanfiction is great because you can see so clearly how people learn to write.

Some people, it's clear, learned almost entirely through absorbing the world around them. Grammar and punctuation will be all over the place, spellings are approximate, but the voice of the narration will come through so clearly. You can hear the dialect of the people around them as of they're telling the story. It's not a written story, it's a transcription of how they talk in their day to day life.

Some people learned through reading a gazillion books as a kid. Grammer and spelling will be rock solid, formatting occasionally based on the single tab of physical books rather than the double tab of online scrolling, but dialogue is often stilted and overly formal. You might notice a lack of contractions and very rigid rules they made for consistency that actually have a lot more flexibility than they think. They tend to have a fantastic grasp of sentence flow, though.

And other people formally learned how to write. This could be anywhere from taking school classes seriously because they enjoyed writing stories as a kid to literal certifications and jobs in the field. Grammer is flawless. Punctuation is triple checked. Foreign words are in italics. Characters have distinct voices. But their self indulgence is tempered by perfectionism. They know precisely what they want from a fic. Authors notes often feature mutterings about their happiness with the chapter. Kaomojis often appear! They seek a style to their writing, and it makes for some wonderfully clever plots! These are the ones most likely to get fun with formatting!

And some people.... Some people examined it all. They dissect dialogue, people watch, cross reference behaviours and compare characters to people irl. You can tell almost immediately who had formative experiences with Terry pratchett and/or ghibli, because it's these people. While others see writing as fun, expression, craft, they see it as art. Plain and simple. Sure, the grammar is occasionally sacrificed on the altar of creative freedom, and the occasional sentence might miss a full stop, but these people seem to self reflect on themselves as part of the art making process. On occasion, these people have the most masterful grasp of dialogue and invocation and hand sewn characterisations. Formatting is pretty standard because all the focus is on the actual words. These fics can be edited to the moon and back!

All of these can vary wildly in forethought and quality, and betas can often catch individual problems before they hit post, but just. Isn't it so cool? What's that one Oscar Wilde quote about every mask just being another fragment of yourself?

Did you recognise yourself?

[freetoflythecrimsonsky]

Sometimes i see advice and go “ahh, you don’t see the multiple steps in between where your audience is at and where you’re at!”

[astrologydray]

Saturn through the degrees 🪐🪐

🪐Saturn represents discipline, structure, responsibility, karma, and life lessons. The degree it occupies in your natal chart refines how you experience challenges, maturity, and long-term success.

0° Saturn – The Pure Authority

• Born with a strong sense of duty and leadership.

• Challenges arise early, but rewards come with patience.

1° Saturn – The Determined Initiator

• Takes responsibility seriously but may struggle with self-doubt.

• Must develop confidence in their abilities.

2° Saturn – The Stable Builder

• Creates long-lasting success through steady effort.

• Struggles with perfectionism but thrives in practical work.

3° Saturn – The Communicative Mentor

• Learns and teaches through spoken or written word.

• Must overcome fear of expressing authority.

4° Saturn – The Structured Traditionalist

• Highly disciplined and prefers tradition over change.

• Finds success in law, government, or stability-focused careers.

5° Saturn – The Confident Creator

• Can become a powerful leader, but needs self-trust.

• Struggles with balancing authority and flexibility.

6° Saturn – The Relationship Balancer

• Life lessons come through commitment, partnerships, and fairness.

• Can be overly cautious in love and business.

7° Saturn – The Mystic Realist

• Struggles between spirituality and realism.

• Finds discipline through philosophy, esoteric studies, or science.

8° Saturn – The Strategic Powerhouse

• Gains success through strategy, patience, and resilience.

• Must avoid controlling tendencies.

9° Saturn – The Expansive Teacher

• Learns through life experiences and global perspectives.

• Can feel restricted but eventually gains wisdom through travel or philosophy.

10° Saturn – The Manifestation Master

• Has a natural ability to turn visions into reality.

• Success comes from long-term planning and perseverance.

11° Saturn – The Revolutionary Authority

• Struggles with rules but eventually creates new systems.

• Can bring innovation into traditional structures.

12° Saturn – The Dreamy Worker

• A mix of practicality and creativity, needs discipline to ground dreams.

• May struggle with self-doubt or escapism.

13° Saturn – The Fearless Decision-Maker

• Gains strength through resolute choices.

• Must learn to trust instincts and avoid hesitation.

14° Saturn – The Balance Seeker

• Challenges arise in finding equilibrium between work and personal life.

• Can become an excellent mediator or peacemaker.

15° Saturn – The Legacy Builder

• Naturally drawn to leaving a mark on the world.

• Must embrace responsibility and avoid fear of failure.

16° Saturn – The Wise Guide

• Life lessons push them toward mentorship, coaching, or teaching.

• May experience early hardships that shape wisdom.

17° Saturn – The Fearless Worker

• Has strong work ethic but struggles with overworking or burnout.

• Must learn to delegate and balance effort with rest.

18° Saturn – The Deep Thinker

• Drawn to psychology, philosophy, or investigative fields.

• May struggle with rigid thinking or emotional suppression.

19° Saturn – The Bold Risk-Taker

• Learns through trial and error, often facing big life lessons.

• Gains strength through calculated risk-taking.

20° Saturn – The Patient Master

• Success is delayed but deeply rewarding.

• Must embrace delayed gratification and persistence.

21° Saturn – The Public Figure

• Challenges come through fame, public recognition, or societal roles.

• Must learn to balance personal integrity with external expectations.

22° Saturn – The Master Builder (Karmic Degree)

• Highly karmic placement, linked to great achievements or downfall.

• Requires extreme discipline, focus, and integrity.

23° Saturn – The Strategic Risk-Taker

• Learns when to push forward and when to retreat.

• Can be very calculated in business, finances, or leadership.

24° Saturn – The Romantic Realist

• Life lessons often involve love, creativity, or beauty.

• Must balance idealism with practicality.

25° Saturn – The Spiritual Worker

• Gains wisdom through spiritual studies, healing, or devotion.

• Needs structure to ground spiritual growth.

26° Saturn – The Reserved Strategist

• Prefers to work behind the scenes rather than be in the spotlight.

• Success comes through long-term planning and steady execution.

27° Saturn – The Karmic Healer

• Deeply tied to ancestral karma and healing generational wounds.

• Can become a great mentor, therapist, or spiritual guide.

28° Saturn – The Bold Traditionalist

• Faces power struggles with authority but ultimately becomes a leader.

• Can challenge old systems or reinforce them in a more evolved way.

29° Saturn – The Fated Leader (Anaretic Degree)

• Intensely karmic, often signaling a life of heavy responsibility.

• May feel like they are “tested” more than others.

• Must embrace maturity, responsibility, and resilience to succeed.

[fandomtrumpshate]

Our Stance On Gen-AI

This year, for the first time, we've had a couple of reports from bidders that the FTH fanworks they received were produced using generative AI. For that reason, we've decided that it's important that we lay out a specific, concrete policy going forward.

Generative AI tools are not welcome here.

Non-exhaustive list of examples:

image generators like Imagen, Midjourney, and similar

video generators like Sora, Runway, and similar

LLMs like ChatGPT and similar

audio generators like ElevenLabs, MusicLM, and similar

Participants found to have used generative AI to produce a fanwork, in part or in whole, for their bidder(s) will be permanently banned from participating in future iterations of Fandom Trumps Hate.

Why?

We understand that there can be contentious debate around the use of generative AI, we know individual people have their own reasons for being in favor of it, and we recognize that many people may simply be unaware that these tools come with any negative impacts at all. Regardless, we are firm in our stance on this for the following (non-exhaustive) list of key reasons in no particular order:

negative, unregulated environmental impact

Over the years, you may have noticed that we’ve supported multiple environmental organizations doing important work to combat climate change, preserve wildlife, and advocate for renewable and sustainable energy policy changes. Generative AI tools produce a startling amount of e-waste, can require massive amounts of storage space and computational power, and are a (currently unregulated) drain on natural resources. Using these tools to produce a fanwork flies in the face of every environmental organization we have supported to date.

plagiarism and lack of artistic integrity

Most if not all generative AI models are trained on some amount of stolen work (across various mediums). As a result, any output generated by these models is at worst plagiarized and at best extremely derivative and unoriginal. In our opinion, using generative AI tools to produce a fanwork demonstrates a lack of care for your own craft, a lack of respect for the work of other creators, and a lack of respect for your bidder and your commitment to them.

undermining our community building impact

One of the best things to come out of the auction every year—we can't even call it a side benefit, because it's so central to us—is that bidders and creators form collaborative relationships which sometimes even turn into friendship. Using generative AI undermines that trust and collaboration.

undermining the value of participating as a creator

Bidders participate in Fandom Trumps Hate for the opportunity to prompt YOU to create a fanwork for them, in YOUR style with YOUR specific skill set. Any potential bidder is perfectly capable of dropping a prompt into a generative AI tool on their own time, if they wish. We hope all creators sign up with the aim to play a role more significant than “unnecessary middleman.”

In general, we try to be as flexible as we can in our policies to allow for the best experience possible for all Fandom Trumps Hate participants. This, however, is something we are not willing to be flexible on. We realize this may seem unusually rigid, but we ask that you trust we have given this serious consideration and respect that while we are willing to answer clarifying questions, we are not open to debate on this topic.

[rafeslvbug]

introducing…nba!rafe

back to basics!! (physical)

height: 6”6/6”7 (power forward) second tallest player on his team, uses his height for intimidation over the ball, and in other ways too - outside the court.

build: 220lbs. built, but needs to be agile at the same time. 6”8 wingspan. back muscles you could honestly die for. probably always has some bruises/scratches up his arms and back that no one knows if it’s from training or from you.

age: early to mid twenties. considered one of the most significant power forwards currently in the nba.

looks!! (specific)

tattoos/piercings: has a small tally on his upper arm for nba championship wins. currently set to two. doesn’t wear earrings, though he’s got one piercing from a bet he made. nothing other than that.

signatures: always wearing sports shorts. around the house, out and about in summer, training, etc. unless you actually have to go somewhere, in which case he knows how to dress up. he’d have a thin chain around his neck. silver. small. plain. about the only jewellery he lets himself wear.

personality

jealous: on a scale of 1-10? 11. he can’t help it, if i’m honest. with your popularity, you’ve dated other men who you still see often in your industry. and he knows your quick with relationships, finding something stable is hard. but he wants to be stable. he doesn’t need other people getting in the way of that. arm around your waist at any of your events, showing up to every concert. wouldn’t hide under a hat in the vip section, probably glare down every man who’s staring at you on stage. i’d hate to think of what he’s like with the male dancers.

straightforward: rafe’s clear about what he wants. you. to win. stability. there’s no questioning him, or his intentions. it’s refreshing in a way, no guessing, no wondering if your partner loves you as much as you do. it’s what you need. in other ways it’s often the cause of his stress. when he knows what he wants, and how to get it, and it doesn’t work out for him. he’s too rigid at times, not as flexible or fun as he should be. on the brightside, it fixes arguments quickly.

charismatic: out of a line of men, no doubt wanting to date you, he got you. his biggest brag, but in the end it was how he did it. irresistible charm, didn’t pretend even for a minute that he was only trying to befriend you. made it clear, took what he wanted. flirtiest idiot alive.

supportive: would be at every concert, every show, every event. whenever he can make it, he’s there. no excuses. expects you to do the same, could cause arguments. biggest fan, though. online, in person. never ashamed to say your his, loves when he gets to talk about you.

dislikes

arrogant players. people who think it’s pure talent that got them here. that they’re untouchable. he’ll straighten them out, show them on the pitch that no one is undefeated.

exes. your exes, specifically. hates that you still work with them on occasion. hates how the media is always raving about you and them. always comparing him and them. also hates how people compare you to his exes, when you & him know full well you’re the best gf he’s ever had and vice versa.

small doorways. can’t fit himself through, has to duck his head, will bang it anyways. and if they’re narrow? might just stay outside, doesn’t want to do the awkward sideways step through.

time wasters. in matches, in life. hates doing things without purpose unless it’s actually comforting. walking around aimlessly? unless it’s supposed to be a relaxing walk, it’s just dumb. hates boredom. restless af.

likes

analysing plays. it’s all he does really, studying how to improve himself and get better at the game. if someone is doing better than he is? fine, he’ll learn from them. improve himself. believes he needs to learn from the greats rather than mope around and envy them - that’s how he becomes them.

emotionally intelligent people. people who can understand him, those he can have deep conversations with while still bantering.

someone who has their priorities straight. wants to be with someone who’s resilient. when they set goals, they meet them. where they can support each other.

listening to you talk. at night, when he’s tired, he can lie down on the bed, and just listen to you talk. about anything. your day, stories, song ideas/lyrics and album concepts. he could do it all day long, that is not purposeless.

family & people-specific hcs

nicknames for you: star, pretty girl, baby, missy

nicknames you have for him: baller, my man, cutiepie (as a joke)

- his jersey number is your favourite number

- you guys are most likely engaged. he’d put the biggest rock on your hand and you wouldn’t be private per say. you’re always at his matches, he at your concerts, always out and about together. you’ll record tts from time to time with him in them, or he might post photo dumps with you in them.

- he’d want kids. definitely. all these basketball players he’s surrounded by have the cutest families. he wants it. wants a little boy/girl to take to all his matches, have on his lap during after match conferences, hold on his hip during concerts.

- he’ll do anything you want. star in a music video? sign him up! attend your concert on stage? yes yes. be part of a tiktok? of course.

[charliemwrites]

Omegas are the best for the military. Everyone knows that, it’s just common sense.

Omegas are notoriously level-headed and calm, protective without the tendency towards aggression and territorial possessiveness that characterizes their Alpha counterparts. They’re cooperative and adaptable, with heightened senses that at one evolutionary time kept them safe from rabid Alphas.

Now, it’s best suited to sniffing out potential threats, communicating sub-vocally, and noticing the smallest changes in their environment. The military finds them much more economical for combat, special ops, and even espionage compared to Alphas, who are pheromone sensitive, hard-headed, and generally indelicate.

That said, they’re not without their uses. Alphas tend to be lean, fast, and vicious. That aggression makes them both sword and shield in a fight, filing their sense of pain and fatigue down to almost nothing until the threat is neutralized.

Still, having a full-time Alpha in a squad isn’t a necessity except in special circumstances.

Per usual, Task Force 141 is special circumstances.

Four specialist Omegas with a metric ton of trauma per team member has the unfortunate consequence of hormonal imbalance. One thing feeds into another, a heat is put on hold for a mission because they can’t spare the manpower - it stacks and stacks and stacks until sleep is scarce and their usually well-maintained instincts are bursting at the seams. Compound that with the near loss of one of their team members…

The new Alpha is already there when the team returns from their latest assignment.

Laswell is waiting on the tarmac and an operative in black gear is standing a polite distance (plus one step more) from her elbow. Well within peripheral, but deferent. Their hands are clasped behind their back, shoulders straight but loose.

As TF141 approaches, Price expects the Alpha pheromones to waft his way any moment. It’s normal, expected even. A new environment, meeting strange Omegas, Alphas usually burn through their neutralizers quickly. Perhaps a vestigial instinct to carve a space for themselves in the world. Not necessarily their fault, but it happens.

Price is surprised that he smells nothing from the Alpha at all. Just the scents of detergent and soap, clean and standard. A quick glance at Simon confirms their most-sensitive nose doesn’t detect anything either.

Laswell introduces them, an Alpha that she’s personally worked with before and can verify is solid both on and off the field.

The Alpha’s muzzle is heavy duty but long-wear design. Hard-case and rigid instead of the more popular soft and flexible ones. Cushioned but firm at the bridge of the nose, chin, and corners of the jaw. Buckled tight at the back of the head, steel grid pattern across the front.

Price doesn’t arch his eyebrows at it but it’s a near thing.

They duck their head in greeting when Laswell introduces them as Saint, eyes flicking up briefly to each team member, eye-shine reflecting green in the bright runway lights.

Soap whistles, impressed.

“Yer a big ‘un, tha’s fer damn sure. Didnae ken they make ‘em like ye,” he drawls. Ghost cuffs him upside the head, reminding him to behave.

Saint blinks and doesn’t say anything. Curious.

“Let’s do proper introductions inside,” Price decides.

It goes much the same way in the 141’s den as it did out on the tarmac. Saint stands quiet and still while the Omegas take their turns.

There’s no scent to familiarize themselves with, so it’s mostly offering theirs to the Alpha. Except Saint doesn’t duck down to the neck Gaz offers. Instead, they pluck up his hand and bring his wrist to their muzzle. Inhale so quietly that only the swell of their chest indicates that they’re breathing him in.

They chuff softly, hold so loose that Gaz’s hand nearly drops from theirs. It’s approval, it can’t be anything else, but it sounds so… detached.

Still, Gaz chuffs in return, and makes way for the others. Saint does the same to Soap and by the time Simon steps up, he’s already tugging his sleeve up and his glove down.

Simon, to his own surprise, receives the same polite huff as the two sergeants. Most Alphas have found his direct scent to be unpleasant - too sharp and savory, bordering on Alpha. But Saint doesn’t seem to mind in the slightest.

When it’s finally Price’s turn, the only difference is that Saint swipes their own wrist along his. Scent claim. Not marking the 141 as theirs, but rather Saint as belonging with them.

Laswell, suspiciously amused, takes her leave soon after.

The 141 has an Alpha. A permanent one.

Living with an Alpha would have been a learning curve on its own. Living with SAINT is something else entirely.

For one, they apply clinical-strength neutralizer religiously. They have spares stashed everywhere. In their go-bag, their combat gear, the den, the lockers - even one in Price’s office. It’s better than the ones with fragrance, but if not for their ever-present muzzle, no one would be able to tell that they’re an Alpha.

And speaking of the muzzle.

It goes beyond common courtesy and public conduct. Even in the den, they keep the thing tightly pressed to their face, and don’t remove it for anything. They eat in their room and drink through straws when necessary.

When Price tells them that the team wouldn’t mind if they used a bite guard in the den, they just chuff softly and brush a hand along his shoulder. The muzzle stayed.

It’s not to say they don’t seem comfortable. Day by day, little signs of trust and ease seep into their Alpha’s mannerisms if they know where to look for it. A brush of skin here, a sub-vocal purr there. Spending hours upon hours in the den, available for any of the Omegas to sit with or cuddle or chat to. As much as teammate as an Alpha in the traditional sense.

It doesn’t take Soap and Gaz long at all to start hanging all over them, but Saint takes it with all the patience of their namesake. Price finds Soap lounging in their lap most times that they’re sitting, or leaning hard into their side while they watch recruits.

The muzzle is a no-touch zone, but they don’t get even growl the first time Soap discovers that. They just redirect him with a quiet click of their tongue, and let him nuzzle in when he apologizes.

Gaz is hardly any better, scent marking Saint like some bad Alpha stereotype. Poor thing goes around smelling overwhelmingly of bergamot and honey sometimes, but they never mind, never stop him from pressing his face to their chest or their back or even into their hands. Rubbing his face over any bit of skin or fabric available, even their jugular, despite the vulnerability of such a spot.

Still, Saint is aloof.

They’re perfectly responsive to their Omegas, head tilting at the slightest vocalization, quick to offer physical comfort when asked. They hardly ever seek it out for themself though, and show none of the near-obsessive behaviors associated with even the most mild of Alphas on the spectrum.

“I dinnae think Alpha likes us,” Soap whines one evening.

Saint is eating in their room, leaving the Omegas to a cuddle pile while they wait for their return.

He’s been lamenting it for a while now, repressing the rejected pang in his gut any time Saint doesn’t vocalize back, or reach for them first.

They work out in the Alpha-Only gym on base and do their laundry in the designated Alpha wash. Neither of those are regulations, it’s a choice they make. And it hurts a bit.

Saint is sweet, but their politeness goes past the point of old-fashioned.

“Course they do,” Simon grunts, dismissive. “They probably like us too much.”

“How do you reckon?” Gaz asks.

“Alpha didn’ go t’ eat ‘til we were all fed,” he replies, shrugging.

And it’s true. Saint doesn’t collect a scrap of nutrition until every one of their Omegas has had something to eat. Even Price, stubborn and work-focused as he can be, is gently urged to eat before Saint fills their own belly.

It doesn’t stop there.

Saint is always the last one on or off a transport, and quick to notice if any of them are injured. They’re always present around large groups of other Alphas, especially recruits.

The sheer amount of time they spend available is unusual, preferring the den to rest in their off hours - even sleeping there on occasion.

Then Gaz’s heat is due. A week out and he’s already feeling it descending - it’s been well over six months since his last one. His skin feels itchy, his senses on overdrive. Thirsty and hungry and generally feeling restless beneath the skin.

“Alpha,” he calls.

Saint’s eyes are on him instantly, one-sided conversation with some other, non-Pack Omega forgotten. Gaz purrs, pleased.

“I want something of yours.”

They tilt their head, a silent question.

“A shirt or something,” he specifies.

And something in their gaze flickers. Gaz isn’t sure what it means, but it definitely looks positive.

Saint brings him something better - a blanket. It’s intimate; it’s perfect. It smells incredible, if… oddly faded. From his most reserved Pack member, it means the world.

Gaz balls himself up with it in the nest he assembles over the next day and a half, until he wakes up one morning with the knowledge that his heat will l well and truly have taken hold before midday.

He puts in his notice and calls his Pack.

Saint is the last to enter his barrack, a huge bag of supplies in their arms. Not just for Gaz, but for the rest of them. No one will be leaving unless duty calls.

And it’s perfect. The best heat Gaz has ever had. Surrounded by Pack and protected by his Alpha, who stays on watch while Price and Ghost and Soap fuck him through the dregs of preheat and well into Heat proper.

Half of him purrs at his Alpha’s dedication to protecting them, to providing for them. The other half protests the Alpha’s attention being anywhere but on him.

“Alpha,” he calls. And when that only earns him Saint’s eyes and not his affection, he barks, sharper, “Alpha.”

They come to him instantly, settled in between his legs, smooth their thumbs along the glands at the base of his neck. He curls into them trilling and chirping and needing more than just social acceptability right now.

And finally, finally, a low rumble sounds through his Alpha’s chest. It’s deep and rich, hits the subharmonics in a way that has all the Omegas going still and quiet. Their voice purrs out a moment later, practically vibrating their skulls.

“Easy, Omega.”

Gaz bares his neck, whispering, “Saint.”

They lean in, breathing loud and deep, warm hands soothing an ache in his lower back. “I’m here, Kyle.”

They fuck well into sundown, Kyle so wound up that he can’t bear to be parted from Saint to even let them breathe. Any space between them is whined or growled or bitten out of existence, the ever-indulgent Alpha soothing their Omega with their body, with the newly discovered vocalizations that he just can’t get enough of.

Ghost and Price have to feed and hydrate him between rounds, working together to manage his clingy limbs and careless (but sharp) teeth. In the meantime, Soap helps to do the same for Saint, who is far more cooperative.

“How’re you still goin’?” Soap wonders, amazed, slipping bites of granola between the bars of their muzzle. Saint is sitting upright with Gaz collected against their chest, sweaty but already breathing evenly again.

Saint licks a bit of chocolate off their lip and meets his eyes easy as anything, serene for how blown out their pupils are.

“I’m your Alpha. I go until you need me to stop.”

Which just sets them all off, each taking (needing) a turn with their Alpha.

By then, their neutralizer has begun to wear off, friction and sweat and fabric thinning the chemical deodorant to nothing. The scent is intoxicating, unlike anything any of them have ever smelled before. It’s overwhelmingly Alpha, overwhelmingly good. Even Ghost and Price, rare to bend the knee to anyone, find themselves weak for that scent.

No wonder Saint keeps it on lock, it’s practically a weapon in itself, not demanding submission but expecting it. A foregone conclusion. In a social setting it would be a brutal domination, rude wouldn’t even be the right word for it.

Saint isn’t just an Alpha, they’re on the extreme end of the spectrum.

The kind that comes with counseling and desensitizing therapies. Etiquette schools and specialized doctors.

The kind of Alpha that can not only manage four chaotic Omegas, but give them what they need.

With types like Saint, Alpha isn’t just a designation, it’s a title. And the 141 is proud that it’s theirs.

[inky-duchess]

Fantasy Guide to Fashion of the Victorian Era

(Yes, all of it)

Since I started these historical fashion references, one that seems to be the most popular is the Victorian era and for a while, I put it off because its a big undertaking. I mean, its sixty odd years and fashion changed so much. But I have an afternoon free and a cup of coffee so fuck it, we ball.

Undergarments

Undergarments fundamentally remained mostly the same throughout the era but due to changing silhouettes, certain things changed.

Women

Chemise: This is the underdress worn by all women under everything else. It would have made of linen and cotton and like most of the clothes of the Victorian era, changed with the times. In the early period (1837-40s), the chemise was loose and commonly knee length. The next twenty years, 1850s-1870s, the chemise got slightly more fitted. In the 1880s, due to the changing shape of evening gowns which we will discuss later on, sleeves chemises started being worn. Became more fitted as corsets tightened. Some chemises featured lace or embroidery for elegance.

Pantaloons: These are linen or cotton pants like items of clothing. They weren't really popular in the early end of the era but after crinolines started being used, they became a staple. Toward the end of the era, the pantaloons became wider and more flared.

Combinations: This is an undergarment worn from the 1870s on that combined the upper and lower layers into a single unit - almost like a longer version of a bodysuit. The crotch was split to allow the lady the freedom to use the lavatory.

Corset: Corsets are the structured garment that is worn on the upper body to support the breasts. It wasn't all about giving a lady a snatched waist. The corset started out longer in the 1830s-40s and the boning was commonly whalebone (Not actually bones of whales) if your lady can afford it or a substitute. In the 1850s-60s, corsets were shorter, the boning was replaced with steel which lent to the more rigid figure ladies were after. In the 70s-80s, corsets adopted a more prominent curve at the waist in order to support the bustle of the decades. The 90s, saw corsets becoming less restrictive and more breathable with more flexible options for boning.

Corset covers: Were like short vests worn over the corset to protect the fabric of the dress from the eyelets and fastenings of the corset worn from about 1840 on.

Hip pads: Worn tied around the hips to take the pressure off the hips frol the corset and bustle, worn around the 1870s-80s.

Stockings: Stockings essentially stayed the same but different fabrics and ways of securing them did change over time. The 1830s-40s, stockings were secured by a garter ribbon and usually made of wool or cotton. Wealthier women could opt for a patterns or a higher quality of fabric. The 1850s-60s, saw the rise of the silken stockings for wealthier women but the way of securing them remained the same. The 1880s-1901, saw the appearance of elastic garters and plain black stockings became more popular than colour.

Crinolines: A crinoline was a hooped petticoat that made skirts wider. These were made of linen and horsehair at first but crinolines were soon fashioned out of light spring steel. Working class women did wear them but they were much less pronounced and lighter. In the early Victorian era, crinolines were not used. But in the 1850s-60s, women started to wear them and by the late 60s, the biggest crinolines would span the skirts to almost five feet. Crinolines are so tied to our idea of the Victorian era but they were really only around for a short period of time.

Bustles: Bustles were there to add more junk to a lady's trunk, if you will. They were padded cushion like things or frameworks used to enhance the back of a lady's gown. Wealthy women had very prominent bustles while working class women would have worn them less pronounced. Bustles were worn in the 1870s-80s, just on the heels of the death of the crinoline. But once the 90s hit, the bustle lost popularity and skirts became slimmer.

Petticoats: Petticoats are lighter skirts of linen and cotton worn in layers over structured garments and under the main dress. They were worn for warmth and for structure. Before the dawn of the crinoline and the bustle, multiple layers of petticoats were used to add volume to the skirts. But during the crinoline and bustle eras, petticoats were no longer worn for volume but to keep the layers from snagging on each other. Women from wealthy classes and working class women both wore petticoats, but working class women wore much sturdier ones while the wealthier women would have worn lighter and more decorated versions.

Men

Shirts: Under-shirts were worn as a base layer for men. The shirts were usually made of cotton or linen and had long sleeves. In the early Victorian era, shirts were longer and worn tucked into trousers and had high collars. In the 1850s-60s, shirts became stiffer; they were pleated at the front and the collars were lower and stiffened. By the 1870s-80s, shirts became even more stiffer thanks to the trend of starch and worn with detachable collars which would be held in place with pins. By the 1890s-1901, shirts became a part of outerwear rather than a base layer retaining the starch and detachable collars.

Drawers: These are linen/cotton underpants. In the 1830s-40s, they were loose and worn long at the knee. Drawers in the 1850s-60s, became more fitted and flannel was beginning to become a popular fabric. In the 1870s-80s, drawers got even longer, reaching mid-calf and were now secured with buttons at the waist. Drawers remained popular for wealthier men past this point.

Union Suits: Union suits were a singular item of clothing that combined the underwear to a long-sleeved shirt. They were mainly worn by working class men, especially men who worked outside. Though invented in the 60s, they were not popular until the end of the era. And yes, they could go to the bathroom in them. There were two helpful flaps.

Stockings: Stockings were worn by men, usually made of wool or cotton and held in place by garters. Wealthier men opted for silk stockings around the 1850s-60s. Like the women, elastic stockings emerged around the later part of the era. Stockings were also secured by stocking suspenders, which were clipped to the waist for support.

Suspenders: Men did not wear belts in this era so suspenders were the only way to hold up one's pants. They were worn under waistcoats. In the early period from the 1830s-1850s, suspenders were made from leather or woven fabric and attached with buttons. In the 1860s-1880s, suspenders became elasticated and thanks to Mark Twain, yes that one, they became adjustable. From the 1890s to 1901, suspenders were still popular but belts were taking over and suspenders were mainly worn by the upper class as a symbol of sophistication.

Day Wear

If the undergarments only changed a little, the outer layers changed significantly. Fashion really took off in this era, giving us some of the most recognisable silhouettes.

Women

Day wear for women changed with each decade due to changing status symbols and expectations. I'm going to break it down to skirts, sleeves, hats and bodices to show the differences between each era.

Skirts:

1830s-1840s: Wealthier women favoured dresses that sported wide skirts. Working class women had less voluminous skirts.

1850s-1860s: Wealthier women wore very large crinolines that expanded the skirts into an extreme bell-shape. Working class women wore crinolines too but their skirts did not reach the volume of the wealthier class, mainly out of practicality.

1870s-1880s: As I mentioned above, wealthy women wore very prominent bustles which sort of pulled back the skirts giving it a flat shape to the front and a larger bump in the back (the mullet of dresses if you will). Working class women also wore bustled skirts and they were far less pronounced.

1890s-1901: Skirts became simpler in shape for both classes and now could be worn as part of a two piece suit or as a dress.

Bodice

1830s-1840s: Bodices of this era featured high necklines for day wear and ended in a V-shape, to make that waist look snatched.

1850s-1860s: Bodices started to become more structured and the necklines began lower slightly, taking on square or more rounded shapes.

1870s-1880s: High collars came back into fashion and bodices became longer. The tailored jacket look started to become popular for both upper class and working class.

1890s-1901: Bodices became longer and the tailored jacket and skirt combo was still alive and well worn by both upper and working class women.

Sleeves

1830s-1840s: The gigot or leg o' mutton sleeves became popular in the 1830s. Theses were very large at the upper arm and slimmed down as it reach the wrist. Toward the end of the decade, sleeves became a little more fitted. Pagoda sleeves were also popular in this decade, where the sleeve was more voluminous toward the elbows. These were worn by both classes, with the working class women wearing far more understated versions while the wealthier ladies went a bit crazy with it.

1850s-1860s: This decade saw the rise of the bishop sleeves. This sleeve was gathered at the shoulder and slimmed toward the wrist for a close fit. Bishop sleeves slimmed down at the decade came to a close but the pagoda sleeves became even wider. Working class women would wear versions of them but much more refined versions.

1870s-1880s: Sleeves began to adopt a little puff at the top with a slim sleeve that gradually grew larger as the decade drew to the close. Both classes of women would have worn them but working class women would wear slimmer fitting sleeves.

1890s-1901: The leg o' mutton sleeves emerged again and they were back and bigger than ever at the early part of the era, large and in charge at the top and gradually thinning as it reached the wrist. As the decade closed out, the puffy shoulders started to get way slimmer.

Hats

1830s -1840s: Bonnets were worn by both classes, usually of straw or cloth. They would cover the ears and all the hair. By the 40s, velvet and silk was starting to become a popular fabric for the upper class. Working class women would also wear bonnets. During the end of the decade, bonnets began to pull back from the face. Working class women might wear a mob cap while working. Neither class of women would leave the house without a bonnet. Hats could be decorated with ribbons and cloth flowers.

1850s-1860s: Bonnets were still worn but hats became taller with and higher crown. The upper class became to make decorations more ostentatious, with fabric flowers, feathers and jewelled broaches. Working women would still wear their hair under caps when working but would wear simpler versions of the bonnet and the newer taller versions. By the end of the decade, hats began to get smaller and sailor hats and toques started to become popular. This was mainly due to large hairstyles worn by the 60s but hats were still heavily decorated.

1870s-1880s: Bonnets grew higher-crowned with wider brims that turned upwards from the face, by the end of the decade ladies were wearing larger and flatter designs. The embellishments got even more excessive. Working class women would wear less extravagant versions while out and about, wearing caps while working. To keep these often heavy and cumbersome hats in place, women would secure hats with pins, which were long needle like implements that doubled as tools for self-defence.

1890s-1901: Wide-brimmed hats were popular and decoration got every out of hand for upper class ladies. The demand for feathers saw to the extinction of many birds. But as the decade ended, some women especially the working class started wearing much smaller and flatter versions of the brimmed hats like boaters so they could be more active.

Men

Day wear for men did change over the decades, but the changes were more subtle than the ladies.

1830s-1840s: In this era, men wore trousers, shirts and coats. Frock coats was the most popular style of coat for during the day and as the decade wore on, they became longer and more fitted for the wealthier set of men. For working class men, simple coats of wool were popular. Waistcoats were often worn in this decade by both classes, the working class would wear them far more simpler while the wealthy class favoured louder patterns and fabrics. Trousers were high-waisted and slim for the wealthy class, it was even popular to wear them with instep straps to keep the trousers as straight as possible. The working class favoured a straight leg and also. Shirts for the wealthy class would have high stiff collars, worn with stock ties and cravats. Working class men would also wear cravats but their collars wouldn't be as high. Wealthy men would pair it with a top hat while working class men favoured flat caps.

1850s-1860s: The frock coat was still in fashion for the wealthy class but the fabrics changed over time and men favoured double-breasted coats in this era. The paletot was also worn in this era, featuring a peaked lapels and was worn unbelted. Working class men stuck with the same style of coat. Working class men stuck with the same waistcoats and trousers. Shirt collars were lower for both classes and both continued to wear cravats and ties.

1870s-1880s: This era featured more change for the men. This was the era of the morning coat and tailored suit, frock coats started to become less popular. Working class men wore sack suit jackets, which were less fitted and easier to move in. Trousers started to get slimmer again for both classes. Wealthy men started to carry walking sticks along with their top hats and gloves while working class men carried on with their flat caps.

1890s-1901: This is the era of the three-piece suit, where the jackets, trousers and waistcoat would all match. Trousers remained slim and jackets got shorter. The working class wore three piece suits also but these were more practical and made of sturdier fabrics.

Evening Wear

The Victorian age was still an age to party and evening wear was different to what anybody would wear outside on the street.

Women

1830s-1840s: For the wealthy, evening gowns sported large skirts, tight bodices and short sleeves that bared the shoulders. Wealthy women would accessorise with long gloves, fans and decorative combs for their hair. Working class women would stick to a simpler silhouette but the skirts would be as thick as they could afford and often sported high waists. Working class women had higher necklines for their evening wear and would usually wear whatever jewellery they had.

1850s-1860s: For the wealthy, skirts were even wider thanks to crinolines, necklines were lower and usually square or sweetheart in shape. Sleeves were puffed and short. Again women would carry fans and wear gloves. Working class women again would stick to a simpler silhouette with long sleeves though they could wear shorter sleeves if they wanted. They would style it with whatever jewellery, usually a nice broach.

1870s-1880s: For the wealthy, with crinolines gone and bustles in, skirts were less bell shaped and now, flat at the front with the bustle in the back to add volume. Décolleté necklines showed off the shoulders and upper chest. Gloves were a must. Working class women again kept it simpler, their bustles much smaller. Necklines were lower but far higher than that of the wealthy class.

1890s-1901: For wealthier women, evening gowns grew slimmer and the décolleté styles neckline remained popular. Gloves were a must. For the working class, women would wear slimmer gored skirts with square or v-necklines, still higher than that of the wealthy class. Again they would pair this with whatever jewellery they had.

Men

1830s-1840s: Wealthy men would wear tailcoats, with waistcoats of rich pattern and fabrics. Trousers like daywear remained narrow and might have featured a stirrup to keep them straight. Cravats would be of richer fabric and often pinned with more expensive pins. Cufflinks would also be worn. Top hats tied the look together. For the working class, men would likely wear a clean outfit very much like they would wear during the day.

1850s-1860s: Wealthy men still hung on to tailcoats but this era saw the rise of the tuxedo jacket, waistcoats got shorter and it was popular for them to be double-breasted. Cravats were abandoned for bow ties and men adopted leather shoes to tie the look together. Top hats were still a must. Working class men began to adopt the sack suit jacket for evening wear but they typically wore day wear suits on evenings out.

1870s-1880s: The wealthy men started to wear waistcoats with lapels, bowties became standard for evening wear and dinner jackets overtook tailcoats. Working class men stuck to the sack suit jacket and their day wear.

1890s-1901: Wealthy men's waistcoats started to get more fitted and started sticking to plain white or cream. Bow ties got smaller and tuxedos became the prominent style of evening wear. Opera hats overtook top hats both both would still be worn. Working class men still stuck to using a clean day wear suit on a night out.

Bed Wear

The Victorians also had a whole wardrobe to go to bed in.

Women

1830s-1840s: Both classes of women wore nightgowns, that featured high-necklines and long sleeves. Nightgowns were loose and comfortable for both classed but wealthy women could afford finer cotton and linen and had more elaborate decoration while working class women had simpler versions. Nightcaps would be worn to protect the hair.

1850s-1860s: Nightgowns were still worn by both classes and the working class version remained the same but wealthier women started to opt for more opulent versions with ruffles, trims and embroidery. Nightcaps are still worn.

1870s-1880s: Wealthy women started to wear nightgowns with more fitted waists while working class women stuck the same style.

1890s-1901: Wealthy women's nightgowns became much lighter and delicate and working class women still stuck with the simple nightgown but sometimes adopted more softer fabrics and designs when available.

Men

1830s-1840s: Both classes would wear nightshirts which were basically oversized shirts. Wealthy men could afford finer fabrics and often paired their bed time gear with a robe, matching slippers and a dapper nightcap. Working class men would wear nightshirts of more sturdy fabric, like flannel and would wear nightcaps.

1850s-1860s: Wealthy Men began to wear more tailored and finer nightshirts while working class men stuck with the simpler version.

1870s-1880s: The nightshirt remained the same for both classes.

1890s-1901: The nightshirt remained the staple but pyjamas started to pick up popularity, for both classes all but taking over the nightshirt by the end of the Victorian era.

Children

Children experienced a boom in fashion during the Victorian age. It was in this era where children's fashion started to follow trends.

1830s-1840s: Wealthy young boys would wear something call a skeleton suit which featured a short jacket paired with high-waisted trousers. Young girls would wear similar dresses to adult women, only scaled down. Working class children would wear similar clothes to their parents also. Boys would wear dresses up until the age of 6 and then transition to shorts and then trousers when they reached their teens.

1850s-1860s: Wealthy Boys wore short jackets and knee-length trousers and wealthy girls would wear short dresses until their teens, where the hem would be gradually let down as they approached their teens. Working-class children stayed mostly the same. Boys would wear dressed until 5 and then moved to shorts, then to trousers as they aged.

1870s-1880s: Wealthy girls would wear bustle like dresses which were still short and were lowered as they aged. Wealthy boys would wear shorts and jackets until they aged toward trousers. Working class children wore the same style. Older girls would start wearing corsets.

1890s-1901: Wealthy children began to wear more practical clothes. Sailor suits were popular for young boys and girls started wearing looser dresses. Working class children started wearing less restrictive clothes but similar to the style of their parents.

Children's clothes used as a signal to show how close they were to adulthood by style and cut of their clothes. Working class children might adopt adult styles a little later but this is an average guide.

Boys

0-5/6: Boys would have worn dresses with pantalettes underneath.

6-8: Out of dresses, boys would wear knickerbockers/short trousers with shirts and jackets.

12-14: Boys started to wear long trousers and started wearing clothes resembling men's wear.

16-18: The boys would start to wear suits.

Girls

0-5/6: Girls wore short dresses with pantalettes.

7-10: Dresses would start to become slightly longer and would mimic adult styles.

12-16: Girls started would start wearing corsets, their skirts would start to be let down even more.

18+: By 18, a girl would start adopting adult fashions with all the trimmings.

Hair and Make-up

Victorians are known for being stiff and traditional so the idea of make-up was little scandalous for them, since make-up was associated with... women who were on stage *gasp, pearls clutched*. But make-up was still attempted and eventually became popular.

1830s-1840s: Women would have steered clear of make-up in this era but wealthy women did venture into discreet versions to make the skin paler and the lips redder, using rice powder and natural stains like beet to stain their lips. Working class women usually stuck to the ye olde pinching their cheeks to add colour.

1850s-1860s: Wealthy women stuck the subtle art of looking like they weren't enhancing their complexions. Pomade would add shine to the lips and oil to the eyelashes for more lustre. Working class women also went for subtler make-up, using make-up made from things they could find in the home.

1870s-1880s: Wealthy women started wearing rouge but a very light coat and tweezed brows started become popular too. Working class women stuck to the usual lip stains and powders but every minimal.

1890s-1901: Wealthy women started to veer toward natural and softer looks with more delicate stains. Working-class women still used home made make-up. Both classes would use things like rosewater for skincare if they could afford it.

This was make-up for 'respectable' women. But other women like actresses, singers in music halls, opera singers and ladies of the night wore heavy make up. The trends for them were:

Pale skin: Paleness was attributed to wealth since a sign of being wealthy was not going out in the sun or at least going out without a parasol. Women would achieve the look with rice powder, lead-based powders or zinc oxide. Sounds healthy? Nope.

Rouge: Rouge was applied to the cheeks and lips. Lips were dark, cheeks were very pink and everything popped. Rouge could be purchased over the counter but could be made at home with beets and other fruits and veg like berries.

Eye Make-up: Eye make-up was dark, eyes were lined with kohl or a the cheaper option, charcoal.

Eyebrows: Eyebrows would be shaped and darkened with soot, charcoal and even burnt cloves.

Lips: Lips were also applied with beeswax or oils to make lips look suppler and softer.

Hair

Hair is just as much as a tell tale sign of decade of this era and for class. Hair went a little mad during the Victorian era. Hair was another way of telling a young lady's age. If she's under 16, her hair would be down and styled simply but as soon as she reached that age, she could start wearing her hair up and styled. Note that working class children would probably tie their hair up earlier, especially if they were working in factories or in service.

1830s-1840s: Wealthy women wore their hair parted and styled over the ears with braids tucked around the ear, or in rolls and curls over the ear with a bun gathering the rest of the hair in the hair. Wealthy women would cover their hair with a bonnet when heading out and wore tiaras or hair jewellery or flowers in their hair for the evening. Younger girls might wear their hair with barley curls. Working class women wore very simple versions of these styles but usually kept it practical especially if they were out working. Bonnets would have been worn outside the home.

1850s-1860s: Wealthy women wore their hair with centre parts and ringlets over the ear. Chignons became popular, featuring low buns at the top of the neck and base of the skull. Working class women tended to keep their hair up, braided sometimes to protect the hair and keep it clean. Bonnets would be worn by both classes during the day.

1870s-1880s: Wealthy women began to style their hair more elaborately, with more braids and higher styles. Tight curls around the face were popular in evening styles. Wealthy women would style it with tiaras, flowers and hair jewellery in the evening while during the day, they would wear bonnets. Working-class women kept to practical styles like braids and low buns with bonnets during the day.

1890s-1901: Wealthy women started to opt for softer approaches. Hair was still worn up but women began to lean toward pompadours, low coiffures and the famous Gibson Girl style which was all very soft around the face. The evening styles would still feature tiaras, jewellery, feathers and flowers while ladies wore bonnets in the day. Working-class women emulated these styles when they could but they were simpler versions.

Hair Care

The Upper Class: Hair would be washed frequently with soap and for women herbal rises and oils, Empress Sisi used raw eggs and brandy to wash her hair. Men would wear their hair short but style it with oil and pomade. Women would wear their hair long. Brushing it 100 times a night was a ritual many women swore by to keep hair healthy and strong.

The Working Class: Hair would have been washed with soap and less frequently. Some women would bathe their hair in vinegar to kill any boarders on their scalp. Hair was brushed and combed and kept tidy for both men and women, with more emphasis on practicality than wow factor.

Facial Hair

Facial Hair also faced trends in the Victorian era. From moustaches, beards to sideburns, each decade saw their own way of styling them or whether wearing one was accepted.

1830s-1840s: Wealthy men wore their faces clean-shaven, preferring sideburns or moustaches. Working class men kept their facial hair mainly because the process of doing a full shave was painstaking and since they had to do it themselves, time consuming. If they worked in service, they may have been forced to keep their face clean shaven.

1850s-1860s: For wealthy men, beards started to become popular. They were kept trimmed and neat. Working class men kept their beards and facial hair for the same reasons as before.

1870s-1880s: Beards started to become more of an art form, along with moustaches getting shaped with wax. For working class men, they still kept beards and facial hair but neat and trimmed where they could.

1890s-1901: The beard craze was over and the clean-shaven look was back. Men started wearing handlebar moustaches, made popular by the Kaiser. Working class men started shaving their beards and adopted styled moustaches.

Shoes

We have gone head to ankle at this point. I have not forgotten about shoes.

1830s-1840s:

Women: Wealthy and upper class women wore kid leather boots during the day and slippers for the evening. Working-class women usually only had a singular pair of shoes and they were nearly always leather lace up boots, worn for their sturdiness rather than their fashion.

Men: Wealthy men wore polished leather shoes while working men, like the women, wore leather boots.

1850s-1860s:

Women: Button-up ankle boots became fashionable for wealthy women for day wear. These could be made of leather or suede. Working class women stuck to their leather boots which could now be lace up the side.

Men: Wealthy men started wearing the Oxford shoe. Working class men stuck with their lace up leather boots.

1870s-1880s:

Women: Wealthy and upper class women wore high-button boots with slippers for the evening while working-class women stuck with their own leather boots.

Men: Wealthy men's dress shoes started to become pointed at the toe in this era. Working-class men kept their heavy boots.

1890s-1901:

Women: Wealthy women still wore buttoned boots for day wear but heeled evening shoes started to pick up popularity. Working class women opted for boots with much lower heels.

Men: Wealthy men started wearing two-tone Oxford shoes started becoming popular along with regular leather dress shoes. Working class men still stuck with lace up leather boots.

Fabrics and Colour

What clothes are made of was a tell tale style of taste, wealth and class during their era. What colours and fabric you wore heavily relied on what you could afford and what was available to buy if you could. With the Victorian age an age of new innovations and the opening new channels of trade - *clears throat *stealing - new fabrics and dyes came on the market.

Women

1830s-1840s: Wealthy women could afford most fabrics at this time but favoured heavy silks, along with plush velvets and loud patterns. For summer weather and casual wear, light patterned muslin was popular. Working class women favoured cotton and linen and wool which was often patterned. Wealthy women spiced up their dressed with trim and lace at the collar. Wealthy women favoured golds, ivories, dark blues, pinks and greens in this era. Working class women favoured darker and neutral shades because they were easier to clean.

1850s-1860s: Wealthy women started to adopt fabrics like silk poplin, moire and faille. Fringes and flounces were popular embellishments and women tended to opt for darker pallets like navy, brown and purple. Working class women still wore cotton and wool. Favourite patterns of the time were stripes and plaid and they stuck to relatively solid colours like deep blues and navy.

1870s-1880s: Wealthy women preferred silk blends, satins and brocade in this era, often heavily beaded and embroidered. Rich colours were popular, like jewel tones like ruby red, sapphire blue and deep blues and greens. Working class women started adopting floral patterns in their cotton and wool dresses thanks to mass production of cheap cloth. Deep greens, yellows and deeper greys were popular in this era for the working class.

1890s-1901: Wealthy women started opting for softer fabrics, so silk, chiffon, lace, and gauze were heavily used. Ribbons and lace were favourite embellishments. Softer colours were used, such as pale pinks, blues, peaches. Working class women wore lighter cottons and wools, still patterned and beginning to favour lighter shades such as pale reds, blues, green, and pinks.

Men

1830s-1840s: Wealthy men favoured finer wool and broadcloth. Velvet and silk were used for formal wear. Working class men worn mainly wool, cotton and linen, of a coarse weave for heat. The colour palette favoured deep blue, black, fawn and plaid for the wealthier crowd while more muted colours, like browns, deep blues and greens and black were favoured by the working class.

1850s-1860s: Wealthy men favoured greys, blacks for the city and tweeds for the country side. Silk and moire would be used for evening wear. Lighter colours would be worn while on holiday. Working class men still wore wools, linens and cotton and stuck with practical shades in browns, blacks and deep blues.

1870s-1880s: Wealthy men wore more satin, brocade and silk for formal wear while sticking the wool for their suits for the city, linen suits would be worn by the sea side. Browns, blacks and navy were popular choices for the city while lighter shades were popular in while on holiday. intricate embroidery. Working-class men wore the same wool and cotton but now their shirts were decorated with small patterns like pinstripes.

1890s-1901: Wealthy men started wearing lighter wools, silks, linens thanks to new ways of making fabric giving them sleeker looks. Working class men also benefitted from the boom in textiles, brighter colours were more widely available but still stuck with wool and cotton. Wealthy men stuck with dark greys and blacks were worn for the city with lighter shades for the summer.

Tale of Two Wardrobes

The main thing about the Victorian age and clothes, is the clear disparity between rich and poor. From everything to colour, to fabric, to quantity and quality, you would know exactly who was who by what they were wearing.

Poorer families often made clothes by hand so most items would often be worn until they were either too small or worn away, with the scraps likely refused again. Families would hand down clothes to younger children, it wouldn't have been strange to see a child wearing boots too large or swimming in a shirt or dress. Clothes were often repaired rather than replaced. Due to the fact that making clothes was time consuming and cost money, rips were patched with other fabrics or sewn up and too short skirts were let down to give them a few more months of life. Most poorer families would have a limited range of clothes, usually two changes of clothes for day to day wear and an outfit reserved for occasions like going to church.

Wealthier families could afford to have clothes custom made by professionals. They would have had an outfit for every single need and undergone multiple changes per day, especially if they were in the upper echelon. Their clothes would be washed by servants so they tended not to mind discarding their clothes three or four times a day. They could pass clothes between siblings and from parent to child but these were often cut down to create new outfits by professionals.

Hygiene

You may imagine the Victorian age as a time for unsanitary conditions and terrible hygiene and you wouldn't be too wrong. This was the time of cholera, of rampant typhoid and consumption. But the Victorians, even the poorest of the poor did wash.

Personal Hygiene

The Upper Class: As mentioned before the wealthy did bath more often mainly thanks to the fact they had somebody else to fetch the water for them, had indoor plumbing in some cases and had more time on their hands. Teeth were cleaned with powder, mainly made of crushed seashells, chalk and charcoal for whitening. Perfumes were at their height for the era, with men and women wearing cologne and scents.

The Working-Class: The working class were not dirty because they were lazy or slovenly as many contemporaries thought. The main issue was a lack of water and time for regular bathing. This lead to people turning to public baths to wash in their spare time. Teeth were cleaned with salt or baking soda or charcoal but dental care was not a priority since most of them were working long hard hours. To keep fresh, they would have used soap and sachets of herbs.

Clothes

Upper Class: The upper class had servants to clean their clothes and care of them. Shoes were shined by hall boys and clothes were kept spick and span with regular checks. Men could get their suits and shirts pressed and starched in their own house.

Working-Class: Like I said before, water and time was in sort supply so clothes were washed a little less frequently. Very often the women or the house or if the family could afford, a washerwoman, would be in charge of washing the clothes by hand with a mangle, board and soap. It was very laborious work.

Mourning

And finally, we get to it. The biggest trend of the Victorian age was the visualisation of mourning. This was all thanks to (takes very deep breath) Queen Victoria herself who wore mourning for her husband, Prince Albert. Victoria's dramatic and intense mourning set a new trend for dramatic rules around what one could and should wear when mourning.

Stages of mourning

Mourning came in three stages each with their own set of does and don'ts. The upper class would have followed the rules religiously but the working class would cut the mourning time down, especially if it interfered with their survival and work.

Deep Mourning: Full black, every thing black, women might even wear thick veils. Women would wear minimal jewellery but it would all be pearls or jet. Men would wear black frock coats, jackets, waistcoats and trousers along with black cravats. Deep mourning typically lasted a year and a day.

Ordinary Mourning: Black clothing with very little trim. Women might add lace or beading, all in black to their dresses. Lasted about 6mths.

Half Mourning: This was the final stage of the process where the black could be put aside and colours such as greys, mauves, lilac and lavender could be worn. Lasted about 3mths.

Changes in the decades

Men

1830s-1840s: Full mourning suits for the upper class. Working class men would wear a black armband around their upper arm.

1850s-1860s: Mourning attire grew much simpler, men could now get away with black waistcoats and an armband on their upper arm. Working class men stuck with an armband on their arm.

1870s-1880s: Mourning customs got further relaxed, a wealthy man could get away with a dark suit. The working class still used a simple armband.

1890s-1901: Mourning attire was much more relaxed, men could now wear dark colours with dark accessories. Working class men still wore an armband.

Women

1830s-1840s: Very heavy black gowns, worn with black bonnets, and thick veils for wealthy women. Wealthy women would typically already have mourning outfits ready for any occasion. Working class women often had to dye old dresses black for funerals and mourning, some stuck with a black ribbon or armband around the arm.

1850s-1860s: Mourning dresses became more structured and were often permitted to be more embellished with details such as jet beads for the wealthy women. It was the same story with the working class woman, she would wear an existing black dress, dye an old dress or stick with a ribbon/armband.

1870s-1880s: Mourning fashion was more commercialized, letting wealthy women have more of an array of choice in mourning though they still had to follow the rules. Working class women could purchase cheaper black fabric to make a mourning gown.

1890s-1901: Mourning rules relaxed and the stages got shorter, allowing for more colour sooner than before. It was the same for working class women, who typically had already shorter periods of mourning.

Mourning Relationships

If a Victorian donned black every time a person died, the era would have been boring af. So the rules called for different relationships to be marked by set periods of mourning.

Widows: Would mourn for two years, with one year for full mourning, nine months of ordinary mourning and then three months of half mourning. A widow would not be seen often in public.

Widowers: Yeah, get this. Husbands only had to mourn 3-6mths.

Parents/Children: Parents would mourn children and children would mourn parents for about six months.

Siblings: Siblings would mourn for six months.

Aunts, uncles, cousins: Three months.

Friends: Six weeks.

Helpful Visuals

Comparison between 1850s-1880s - AstaDarling

Housemaid GRWM 1890s - AstaDarling

Fit for a Queen: Victoria GRWM - AstaDarling

Casual Day Wear 1880s GRWM - AstaDarling

Evening Wear Men and Women (Upper class 1850) -AstaDarling

Corset Myth - Asta Darling

Sitting in a Crinoline - AstaDarling

Formal Men's Wear Upper Class 1890s GRWM - Pinsent_Tailoring

Working Class women in 1890s GRWM - The Sewlo Artist

Working Class Women in the 1860s - HistoryIsBeautiful

Working Class Women in the 1850s - Katelyn Kearns

GRWM 1840s Working Class - Pour La Victoire

Working Class Men 1850s - CrowEyeProductions

1840s Gentleman GRWM - Prior Attire

1830s Gentlemen Day and Evening GRWM - Prior Attire

1870s Upper Class Lady Morning/Afternoon/Evening - Sew_Through_Time

1840s GRWM with Prince Albert - CrowEyeProductions

[innuendostudios]

regarding Measurehead

I've been watching a max-stats run of Disco Elysium's fascist political vision quest - cuz, hell no, I'm not disappointing Kim myself - and the portrait it paints of Measurehead is fascinating. in the base game, Measurehead is just a comically contradictory roadblock to meeting with Evrart: the philosophy of white supremacy spouted from a massive Black body. most players will interact with him early in the game, usually in close proximity to meeting The Cuno, and he's part of what makes the early game seem so unreprentantly edgelord. the kid said the f-slur! the Black guy is a racist! har har!

I've never loved that this is the foot Disco puts forward first, but, on deeper engagement, the game always has more on its mind.

properly speaking, Measurehead is, at his core, a genuinely good and kind man. he gives Harry good advice about not living in the past; he loves and adores his mother; he has an unhealthy respect for his hard and distant father but recognizes he learned strength and self-respect from him, while nevertheless refusing to repeat the cycle of abuse; indeed, he recognizes the balance he feels in himself, the mix of masculine and feminine, of soft and hard, was only possible because his parents lacked that balance in themselves, that his father saw the loving softness of Measurehead's mother and pivoted to its opposite, denying himself softness and embracing the rigid and cold so that Measurehead could experience both; Measurehead has chosen not to have children perhaps because he knows he could not retain this perfect balance, would have to follow his father's example and embrace only one side of himself to provide balance to a child; and he knows this self-possessedness, this full knowledge of who he is, is what makes him appealing to women, far more than his physique or philosophy; and, by all accounts, he eats pussy like it's going out of style.

what makes Measurehead such a batshit character is how he has to contort his philosophies to make room for this, how malleable fascism and race supremacy ultimately are. he can't just not want kids cuz he doesn't want to repeat daddy's patterns, he has to embrace a philosophy of "semen retention" and deny himself orgasm, and he fits that with race supremacy by insisting the real legacy is perpetuating ideas rather than flesh. he can valorize his devotion to his mother and the sexual consideration he pays his partners by insisting this makes him desirable to women and is how he outcompetes lesser men. the philosophy of "balance of soft and hard" is how he can exalt his father as a masculine ideal while still distancing himself from his father's abusive behavior.

one could argue these are all perversions of fascist rhetoric, if fascism had any coherent rhetoric to begin with. Measurehead has grasped the nonsensical nature of race science and authoritarian logic and put them to his own ends, and, being a giant specimen of a man, he can more or less get away with it.

I don't write this as a defense of Measurehead, because, of course, he is spreading a fascist rhetoric that encourages all kinds of violence and bigotry in the world, and a man who is good and kind in the privacy of his mother's office but is a champion of subjugation when in public - especially when he is, in his bizarre way, a true believer - is no kind of decent. but I see it as a look into the utter emptiness of fascist thought.

the four emissaries of fascism we meet on the vision quest - Gary, Rene, the racist lorry driver, and Measurehead - speak a lot of the same words but, at their core, have nothing in common. they have all latched on to the rhetoric and bent it to different ends - Rene yearns for the monarchy, Gary wants a pat on the head, the lorry driver is an incel, and Measurehead is trying to self-actualize within the confines of hypermasculinity. the only rhetoric that can encompass all four is one without substance, one of infinite flexibility, that offers nothing more than the promise that you will get everything you want, and that directs your rage at something other than yourself.

in that respect, despite being perhaps the most emotionally healthy person in the game, I find Measurehead pitiable.

[shadow4-1]

I'm just imagining using a secluded space on base to do some yoga away from the 141, only to realize Ghost's been watching disapprovingly the whole time.

Like, what you lack in raw strength compared to the boys, you have in agility. You're not nearly as rigid. You're flexible, and it's only because you take the time to work on it. You have several methods but dancing and yoga are by far your favorite.

Neither hobby you can enjoy on base much, because well...you always get stared at. So, you take it upon yourself to clear out part of old studio space used for storage. It's kind of crappy, with cracked tile and dust bunnies galore, but it'll do. You play some music in your earbuds and do your beginning stretches on your mat.

When you're in the zone you're in the zone. You end up in a place far away and yet still within yourself. The burning stretch from some of your maneuvers feels so good you nearly groan. You get lost in the personal meditation. One certain position uses a specific pair of muscles in your lower back. It takes you a moment to realize why it makes you gasp. You bite your lip and decide to take a short break.

As you untangle your body you feel something's off. You're physically fine, but your heart starts to race. Your stomach lurches. You move to stand, suddenly startled by seemingly nothing.

"Yer doing it wrong."

And just like that Ghost makes himself known from behind a shelf. He's in his workout clothes, which isn't much but some slinky basketball shorts and a tank top. Black of course. His mask is the soft one he uses when he's not on the field.

You scoff at him, still feeling on edge but also relieved at no immediate threat.

"You do yoga?" You ask incredulously. "Fine, big guy. Show me how it's done."

He rolls out a mat and gestures for you to copy him. It's a simple move, one you've perfected. And yet he still shakes his head at your form. You try it again. Wrong. Again. Wrong.

"Where am I going wrong?"

You don't expect him to reach over and grab your back leg. He pulls it out further. You stumble and he rights you with the same arm. He tuts at you, but he's the reason you're off balance.

"Lift your back. No. Higher. Your hip should be down."

Next thing you know he's behind you, his large hands making your body twist and bend. You end up in the same position as you'd been in earlier, but this time you can really feel the stretch. Maybe he was right, you were doing it wrong.

You tilt your back up and feel the familiar stretch. It's better than you've ever been able to get it on your own. You can't help the soft groan that leaves your lips. The last time those muscles had been used was before you joined the 141, when you'd still had a boyfrie-

Two hands grab at those spots. Large thumbs work circles into the areas. Despite yourself, you moan. This was going a bit too far but...

The more he kneads the more you fall to your knees. You can't hold the position with your back up anymore. You practically collapse onto the mat, ass up, Ghost knelt over you.

He still doesn't let up. His thumbs dig into those circles hard enough it should hurt but instead you only feel bliss. You bite your lip, it feels so fucking good. Eventually he relents, and stops digging into you. You whine at the absence.

"That feels so good." You groan, voice sounding way too needy for what just occurred.

"M' glad." Ghost huffs amusement evident in his tone.

Ghost grabs you and flips you over onto your back. He grabs one of your legs and pushes it as far forward towards your head as he can without hurting you. He does the same to the other. It's a weird position, but it's not far off from some of the other ones you're used to. It burns but it also feels good. Considering you're flat on your back, you feel supported.

You smile up at him, a little breathless but also happy that he's willing to help you out. Yoga did not seem like something any where near his wheelhouse.

"I didn't know you liked yoga. How did you learn about this stuff?" You ask, using your own arms to hold your legs in position as Ghost gets up higher on his knees.

Ghost huffs behind his mask as he looks down at you. He narrows his eyes, his head blocking out the white light of the overhead flourescents. You feel a hand slide between the material of your shorts and the curve of your ass.

"The Kama Sutra."

[quarterlifekitty]

first, im a bit new to cod but idk…

thinking about ghost’s spouse visiting him on base or some shit, and everyone else wondering how tf he was emotionally flexible enough to bag a bad bitch 🫶

note: this is just my personal little fantasy world headcanon lol so take it with a grain of salt!

Simon maintains a vaguely human lifestyle by adhering to one very strict rule: rigid compartmentalization. You don’t come up at work, and work doesn’t come up around you. Never the twain shall meet, he thinks. And he’s not exactly a watershed of information when he’s with his mates. And it’s not like anyone is asking “When was the last time you got fucked, Ghost?” and seriously expecting a response.

He tells you about the crew, but not about what he does with them. Killing, espionage, torture– that kind of thing stays off the dinner table.

Let it be known that you do not surprise him at work. You respect his boundaries too much, which is why he’s so fucking serious about you, honestly. He calls, asking if you can run something to him. This is maybe the greatest symbol of trust he can bestow, as a man who has only a fraction of an existence in the eyes of the government: he asks you to bring a document of his. He gives you the instructions on how to find it, and trusts that you won’t look at anything you don’t have to.

You know Johnny lets out a low whistle when he sees you coming up with a manilla folder in your hands.

“Who’s that bloody bombshell, then?”

You spy Simon and jog up to him with a smile. He’s the one who embraces you, short but strong. Cue the nigh audible gasping.

“LT, you absolute dog.”

Simon rolls his eyes as the two of you are crowded in short order. You make polite introductions, but have a previous engagement– you really did only have time to stop by.

Hate to see you go, but love to watch you leave.

Everyone is wondering how this could’ve happened. For the record– I think in this scenario, Johnny and Gaz go through a constant string of heartbreaks, and John is kinda married to his job. So in a cruel twist of fate, Simon is actually the only one currently with a partner, much less a spouse.

“How’d you manage to bag a right beauty like that, LT? C’mon, spill it–”

Simon doesn’t mean to diminish your value or anything, but his answer is not going to be satisfying, because he doesn’t find it that difficult to get women. And also, you’re his true love, so you’re perfect for each other and growing close to you was as easy as breathing. But he doesn’t say that.

“S’not that hard. Remember the stuff she says, don’t keep no secrets… dick ‘er down the way she likes.” He doesn’t mean to be crude about it, but from his perspective, is one of the main reasons why you tolerate him. Soap howls at the response.

He’s telling the truth, though! He has a scarily good memory. Remembers every friend you’ve ever told him about, every movie you’ve ever mentioned, every meal he’s cooked for you and how you liked it. He remembers dates, times, and lists with no issue whatsoever.

And he’s never kept anything from you. He tells you how the fuck he’s feeling, and you return the favor, even if it isn’t pleasant. The only thing he doesn’t mention to you are the gorey details of his work.

And you have never had more of a communicative partner, ironically. There were times in the beginning when he didn’t know all of the ins and outs of coaxing pleasure from your body, so he asked you to show him how you like it. And that scary memory is at work yet again– every sensitive spot, every offhand mention of a kink you’ve not yet explored together, every arch of your spine and clench of your cunt. He’s got it down to a science. Could write novels about making love to you specifically.

What I’m trying to say, at the end of the day, is that Ghost bagged a bad bitch by being autistic.