#for example the most complicated one: white

[gamebunny-advance]

Hm.

I probably should have paired the 1010 question with "How old do you think 1010 are physically?" since those can have different answers. But I don't want to over-do the polls in 1 day.

[saetoru]

AGE IS NOTHING BUT A NUMBER — GETO SUGURU.

kinktober day two — overstimulation ; find masterlist here

synopsis. befriending nanako and mimiko has its perks—like fucking their father, for example. suguru might have aged over the years, but that doesn't mean he's lost his touch. don't believe him? that's okay—he can always just show you instead

length. 5.3k words (bro this fic was agonizing)

contents. minors do not interact, fem! reader, dilf! suguru, college au (reader is a student), age gaps (20+ difference), jealous suguru, teasing, cunnilingus, fingering, edging, nipple play, unprotected sex, multiple orgasms, overstimulation, creampie, pet names (baby, sweetheart, princess, angel)

notes. this took me so long bc i hate it so im posting it and running away to play genshin to slave away for primos

most people can tell their best friends everything. not you, though—you have a secret. a dirty, shameful, horrible little secret, in fact.

no one knows that every chance you get, every small little moment you can possibly squeeze in, you fuck your two best friends’ father—and it’s going to stay that way, unknown and forever hidden. suguru is young as far as parents go, just barely in his twenties when he’s found himself a single father of two, but that doesn’t mean he’s not too old for you. and it especially doesn’t mean that it’s not inappropriate to fuck the man that raised your two closest friends.

you meet nanako and mimiko during your freshman year of college—the rest is history. the first time you spend the night at their place, suguru (he insists you call him that on your first meeting) is overjoyed that his girls have someone as lovely as you.

who wouldn’t be? you’re smart, well-mannered, respectable, and incredibly studious. what a perfect role model for his girls—after all, every father’s worst nightmare is his sweet, precious daughters venturing off to the real world. men are dogs—suguru should know. they’re sleazy and prey on young women who are naive and unsuspecting, taking advantage of their hopefulness before completely destroying their innocence. suguru can’t bear the idea of his perfect little girls becoming victims of such sinister behavior—but that’s all quelled when he meets you.

but he never thought, not even for one second, that he’d become one of those men.

those older men who fuck girls half their age—the girls that are barely in their twenties and still don’t even really understand how taxes work. the girls that have just started to learn how to hold their alcohol and can only recently buy it legally. the girls who don’t realize how complicated adulthood can be, just barely spreading their wings and learning what it’s like to be free.

suguru has always found those men deplorable. they’re the awful, disgusting, untamed vermin of society—women must be protected from them at all costs.

but now? well….now he’s one of them—and he finds, even as disgusted with himself as he is from time to time, he has little regrets.

not when you’re sprawled under him, hands tracing over his bare chest, feeling the soft skin under your palms in wonder. suguru, though he’s not let himself go by any means, is past his prime—he still frequents the gym, and he has more time to go now that the girls are gone most of the day, but he’s not immune to the effects of aging.

his hair has more than a few strands of white sprinkled in now; nanako makes sure to remind him not to pull them out unless he wants more. he’s still managed to keep the abs he was once so proud of in his youth, but they’re still not as hard—layered over a slight belly that he can’t seem to get rid of no matter what he tries. his skin is a bit looser, and his eyes have slight wrinkles in the corners of them, but despite it all, suguru still looks as handsome as ever.

he’s aged well, still looks remarkably young for men his age, and still looks like that dashing young man he once was who stole hearts. in fact, he still hears about his looks, especially from nanako and mimiko’s friends—he’s always chuckled to himself and shook his head in amusement.

that’s your dad? god, he’s so hot.

what? he’s single? oh my gosh, do you need a mom?

i can’t believe he’s never been married—women in his generation don’t deserve him. i’ll take him off their hands.

wait, do you have pictures of him when he was younger?

oh my god, he’s so fine. are you sure he’s in his forties?

nanako and mimiko, bless their hearts, have always crinkled their noses at the…less than proper comments they’ve had to witness about their father. in fact, they’ve watched teachers practically throw themselves onto suguru at parent-teacher conferences. it’s bothersome—a little disturbing to hear their friends talk about all the things they’d let their dad, of all people, do to them.

but you? you don’t make unhinged comments. they appreciate that.

but if only they knew…

if only they knew that sometimes, like right now, when you’re spending the night, you don’t actually sleep—instead, you sneak off to their father’s room, lay on his mattress under his body, and feel his touch. you can feel him, hard and throbbing in his sweats as his clothed cock presses against your thigh—but he takes his time with you, and doesn’t do anything about the clear arousal pooling between your legs just yet. 

instead, he focuses on remembering your body—it’s been a while, after all. he hasn’t felt your hips, hasn’t tasted your skin, hasn’t heard your voice. 

“missed you,” suguru breathes, hovering over you as you hum, nipping at your skin as his nose brushes along your neck. your hand is playing with his hair, twisting long, black and white strands along your fingers. “haven’t seen you in a bit, angel.”

“i’ve had midterms,” you murmur.

suguru knows—nanako and mimiko have been studying for them themselves. he’s more than a little disappointed that you haven’t come over to study with them yet. but then, just the other night, mimiko mentions you’ve been spending your time with a boy at the library, sharing a table as you lean over his shoulder to look at his laptop. nanako giggles that you might have finally gotten yourself a boyfriend. mimiko hums and nods as she murmurs it’s about time.

suguru swallows down every bite of dinner with an aftertaste of bile that night.

a boy—a boy? you’ve been skipping coming over to study with the girls (and, by default, seeing him) just to study with some boy? what’s got your attention on the guy so badly? why would you break the routine you’ve had for the last few semesters for someone you just recently met? have you finally started to realize that this is a mistake? is suguru a mistake?

he thinks maybe not, now that you’re back in his bed—but he still has too many unanswered questions. 

“so i’ve heard,” he says lowly, “i’ve also heard there’s a certain boy on your radar.” he smiles bitterly, pulling away from your neck to stare at you with those dark, sharp eyes of his. “a much younger, and fitting match for you, i suppose.”

you roll your eyes, snorting.

“is that what nanako and mimiko have told you? honestly, those two,” you huff fondly, “i told them already. he’s just my partner for a presentation. we’re practicing.”

“oh?” suguru raises a brow—and then he shivers lightly when you lean up and kiss his jaw, eyes fluttering shut at your touch.

“yes,” you giggle, “no need to be jealous of someone half your age, you know.”

“that’s exactly why i’m jealous,” he breathes, leaning in to kiss you softly.

your lips taste like honey—probably sweeter, in fact. they drip with that decadent, saccharine taste of youth. he feels twenty again every time he kisses you, feels not a day older than his glory days.

“oh, you poor thing,” you grin, cupping his face as you scatter kisses along his cheeks and nose, thumb tracing the skin. fuck, is this what it feels like to be in love? it makes him feel so young, so free, and hopeful for the future. when was the last time he felt this way? “have you been losing sleep over my nonexistent college boyfriend?”

“well, kids your age fool around quite a bit,” he says in that father tone that he uses on nanako and mimiko, “what was i supposed to think?”

you’ve heard that tone so many times before; the one where he talks like he knows better, like he’s wiser, like he’s aware of something you’re not. 

girls, make sure you share your location with me—i need to find you in case anything happens. it’s for your own safety, end of discussion.

make sure you watch over your drinks, okay? men these days take every chance they get to spike them when you’re not looking. mimiko, i was your age once, too. i’ve seen this happen plenty.

don’t walk alone in the streets at night. call me. i’ll pick you up—no, nanako, it’s not lame. the streets are dangerous at night. there are creeps, you know.

don’t get into any boy’s cars, girls. you never know what’ll happen; one mistake is all it takes to ruin your life—hey, don’t roll your eyes at me. one day, you’ll understand i’m right.

“i’m not a kid,” you pout, and then, smugly this time, you wiggle your brows. “did’ya lose sleep over my imaginary boyfriend? you need plenty of sleep at your age, y’know.”

“no, you’re not a kid,” suguru agrees, “you’re a brat.” and then he’s back to pressing those hot, open-mouthed, hungry kisses along your jaw, humming in delight when you angle your head to give him better access. 

sometimes, it’s fun to get under suguru’s skin—it’s fun to break that carefully built, mature patience of his, pulling a twitch of his eye and a furrow of his brow from him. so, you grin widely as you murmur, “who knows? maybe he’d fuck better—more stamina, y’know?”

it’s supposed to just tease him, to make him glare at you unimpressed so you can giggle and kiss between his brows—but suguru stills at that, painfully stiff for a moment before he bites at your skin. hard. 

“oh yeah?” he hisses, his voice low and dangerous as he pulls away to glare down at you, “you think so? what, you think an old man like me can’t fuck you long enough?”

you don’t get a chance to reply—not before he pulls your pants down your waist to reveal your soaked panties, pulling a hum from him as he grins at the damp patch of fabric. his fingers circle over your clit for a moment, right over the cloth, making your breath hitch as you buck into his touch. 

“suguru—”

“look at that,” he chuckles, “wearing my favorite one, huh? can’t fuck you that bad if you try your best to impress me. isn’t that what you wanted? is that what you were thinking when you put these on before coming over? how precious,” he murmurs—he speaks so condescending, so knowingly, as if he’s read your mind just by looking at the red lace covering your dripping cunt. you cover your face in humiliation, but he grabs your wrists and pins them over your head, clicking his teeth in disapproval. 

part of you knows you should quit while you can—the other part? well…it wants to test the limits a bit longer. suguru has never been so easy to rile up, you want to indulge in it for just a bit longer if you can help it. 

“well,” you huff, “what’re you waiting for, then? don’t tell me the age has slowed you down—”

“you really don’t know when to quit, do you?” he says in a low snarl, “fine, you want me to hurry up? you got it, princess.”

it all happens before you can even register—one moment, you’re grinning at him with mischief in your eyes; the next second, he has you in nothing but your bra, bare in his bed as he pulls your legs apart and leans close to your pussy.

“you know the thing about guys your age,” he hums, toying with your clit lazily as you gasp with a twitch, “is that they really don’t know how to take care of anyone but themselves. guess they just don’t have enough experience to really figure it out.”

his lips latch onto your clit, sucking before he rolls his tongue over the sensitive bud as his fingers sink into your core, pushing past your folds and stretching you open. it’s slow—deliberately so, in fact. it makes your head spin, and your fingers curl into the bed sheets as you pant. 

“suguru, m-more—”

“don’t worry,” he coos, pulling away from you to grin up at your glossy eyes, “you’ll get plenty, baby. we’ll see if you’ve got the stamina. y’know, since you’re so young.”

his lips are back to wrap around your clit, fingers sinking and curling exactly where you’re most sensitive—suguru finds your sweet spots instantly the first time he has you sprawled under him. didn’t even take a moment of trial, just knew where to touch and kiss to have you unravel in his hold. that much still hasn’t changed—his fingertips press against the sensitive spot in the back of your walls, pulling pretty little whines from you as his tongue flicks over your clit. 

it’s always been a blessing that nanako and mimiko’s room is across the house—had they been closer, they might hear the mewl you let out as his fingers bully into you faster, unforgiving as they brush against your walls and build the ache up between your legs until it’s about to burst. 

“s-suguru, ‘m close, so, so close—”

“already?” he gasps, chuckling as he presses a kiss to your clit with a sly grin, “thought you had more in you than that, baby. so youthful—figured you’d last a bit longer.”

he’s mean about it—rubs it in your face some more that you’re so close so fast before he pulls his fingers away and doesn’t even give you the satisfaction of falling apart on his digits. it makes you sob, hips bucking up to chase the friction of his fingers, but he’s already gone, leaving your walls empty and fluttering around nothing.

“no,” your voice breaks, “n-no, so close, please. i want—”

“that’s what he would’ve done,” suguru hums, “pulled out before you even finished. that’s what guys your age always do—they don’t know how to make girls finish. you ever had that problem with me?”

“no,” you say quickly, shaking your head. you’re a pretty little thing, he thinks—pouty, wobbly lips and those glossy eyes as you sniffle. “no, you always make me cum—please, i wanna cum, sugu.”

“yeah?” he pouts with faux sympathy, “didn’t feel good, huh? feels better when i take care of you, doesn’t it?”

“uh huh,” you nod—you’re still panting through the aftershocks of having your orgasm ripped from you, chest rising and falling harsh enough that it fills him with pride he can pull such drastic reactions from you. no one knows your body like suguru—he’s too good at giving it what it wants for anyone else to compare. 

“think that boy—” he spits the last word like it’s poison on his tongue, “—can take care of you?”

“no,” you whimper, “no, he can’t. not like you, never like you.”

“that’s a good girl,” he nods approvingly, rubbing his slick-coated finger over your clit, toying with it teasingly as you writhe, whining for more. “you know something else about men your age? they don’t care to please a woman—don’t bother to appreciate them enough to make them feel good. you think that boy would be here—” he pauses to motion between your legs, where he’s currently situated, “—willingly? taste you willingly? let you cum on his tongue willingly?”

“i-i don’t…i never asked someone to—”

“did you ever ask me?” he interrupts, raising a brow at you, “you ever have to ask me? i just do it. wanna know why? because i know what i’m doing—know how to treat you right, how to give you what you need. isn’t that right?” 

“yes, yes—you always give me what i want—”

“what you need,” he corrects, “and you know what i think you need right now? this.”

his tongue licks a stripe along your entrances before you can say anything else, pulling a gasp out of you as your hands find his hair and tug—suguru groans at that, feels his pants get impossibly tighter as the aching erection he sports throbs between his legs at the way you pull at the strands so desperately, so needy. for him. only ever him. 

his tongue fucks into you, messy with the way he devours you, the slick arousal pooling from your cunt coating his lips, his cheeks, his chin. you moan—and really, it’s almost a squeal—when his fingers are sinking back into you, tongue flicking away at your clit mercilessly as he thrusts his digits in and out of your pussy. you’re close, painfully so, the pressure steadily building and building until you just can’t hold it back anymore. 

“sugu—’m c-cumming. god ‘s so good—feels good,” you babble, thighs closing around his head as his fingers curl into your sweet spot over and over again, not stopping for even a second as he helps you ride out your high. your walls spasm around his fingers, tight as they flutter around him and make him groan at the thought of being inside you. 

he watches, hungry and in awe, as your back arches off the mattress and your mouth parts, broken little wails of his name rolling off your tongue in a sweet melody. 

“i bet he’s never seen someone look like this,” suguru murmurs, watching the way the ecstasy takes over your features as your face falls slack from pleasure, “so pretty when falling apart. bet he’d never even get close to making you look so fucked from just his tongue.”

your orgasm ripples through you—it’s not new, the way he makes you feel so good, but it’s definitely nothing to get used to either. your body slumps back onto the mattress as you finish, panting harshly while he climbs up to hover over you once again. 

“that felt good?” he asks, nosing at your cheek as you nod breathlessly.

“yeah,” you breathe, wrapping your arms around his neck. 

“hope you’re not tired out just yet,” he says smugly, eyeing the way sweat clings to your forehead and huffs of air exhale from your lungs with each labored breath, “because we’re nowhere near done, baby. not even close.”

just like that, your bra is unclasped and pulled off, freeing your tits for his mouth to latch onto a nipple, sucking and lightly grazing his teeth along the bud while his fingers tease at the other, pinching and rubbing over it with his thumb. you whine, eyes squeezing shut as your hand cups the back of his head and keeps him in place. 

“bet i could make you cum just from this,” he says with a laugh, “i don’t even need to fuck you.”

“please,” you dig your nails into his shoulder, moaning as he switches to wrap his lips around the other nipple, “please, sugu—n-need more.”

“be more specific,” he says lowly, looking up at you in amusement, “gonna need more than that, princess. you gotta help me out here—i’m afraid i don’t know what i’m doing.”

suguru is doing everything he can to drag this out—if you’d known one small comment would have him riled up like this…well, truthfully, you can’t say you wouldn’t have made it anyway. it’s exciting in its own right when he’s so determined to show you why you need him, why no one else but him is meant to see you like this, make you fall apart like this, have you sprawled under them like this. 

no one can know about you and suguru—not nanako and mimiko, not your other friends, not your family. you know what they’d say, how they’d feel. 

disgust—shame, even. he’s far too old for you, you know they’d say; he’s a red flag for getting with someone so young. no one can know that you come here, dead in the middle of the night when your friends are asleep, and fuck their father. not only that—lay with their father, talk about your hopes and dreams for the future with their father, giggle as you gossip with their father, fall in love with their father. 

something tells you the feeling is not unreciprocated—that suguru feels the same, that he loves holding you in his arms just as much as you love laying in them. maybe it wasn’t a joke, what you’d said. not to him, at least—maybe deep down, it stung; maybe he had something to prove. that boy might be closer to you in age, but he’ll never, ever treat you the way suguru does—no one will, for that matter. perhaps he has to show it so you really know. 

so you look him in the eye, pull him closer until his forehead is pressed against yours and you can press a delicate kiss to his lips before you murmur against them, “fuck me, suguru. please—need you.”

he groans at that, closes his eyes before his hips move to press the thick tip of his cock against your folds, dragging it along your entrance as he coats his head with your slick. it’s flushed a deep pink—it’s been neglected for so long that he shudders at the way it aches, at the way even the slightest friction along the sensitive tip pulls a soft gasp from him. 

for a moment, he wonders if he really will last long enough to fuck you properly—he might not, with the way your walls always squeeze around him, always have him ready to fuck his load into you just as soon as he’s inside you. the thought alone almost makes his cock twitch—but suguru is a man of patience, so he slowly pushes into you, inch by inch, looking down and watching as his girth disappears inside you. 

“look at that,” he coos, grinning wide as he looks back up at you, “took me so easily. ‘s cause when you do it right, it doesn’t take much, does it?”

“f-fuck—” your head presses back against the pillow, mouth hung open as you breathe heavily, trying to squirm and get even the slightest bit of friction from him as he stays painfully still. “move, suguru—please, c-can’t wait anymore. jus’ wanna feel you.”

“i know,” he chuckles, “patience is a virtue, sweetheart.”

despite it all, suguru is not feeling very patient anymore—it’s been long enough. his hips roll slowly at first, a shallow thrust of his hips that makes you both moan lowly before he all but pulls out and slams back in, hard. you can feel the burning stretch of his girth practically splitting you open, every thick vein dragging along your cunt and every brush of his tip against the back of your walls. it’s loud—the sound of skin slapping against skin, the sound of his deep groans and your breathless whines, the sound of the headboard hitting the wall as he fucks you into his mattress. 

“god—fuck, suguru—th-there,” you mewl as he slams into you right where you need him. 

you’ve lost count of how many times suguru has fucked you like you’re his. in his bed at night, in his shower in the mornings, on the couch when you drop by when the girls aren’t home, in his car that one time he drove you home when it rained, in your apartment that one time he dropped off your laptop because you forgot it. there’s one common denominator—the way he makes you feel, not just from the way his cock ruts into you, but from the way his fingers tangle with yours, from the way his mouth finds your jaw to kiss, from the way his forehead presses into your shoulder with warmth. 

it’s exciting, maybe. at first, it’s scandalous and a little thrilling in its own right. by now, it’s something much more than that—you don’t think anyone could make you feel the way he does, fuck you like he does, even if they tried. even if they knew where to touch and where to kiss. even if they knew what you liked and what you didn’t. 

they couldn’t be suguru—would never be suguru. 

“there, huh?” he pants, moaning softly as he feels your walls flutter around him tightly, “i know. i know how to fuck this pussy—my pussy. you think some boy you hardly know would know? think he’d care to learn? think he’d even try?”

“no,” you gasp, shaking your head as your hips buck up to meet his sharp thrusts, “no. no one would make me feel this good. make me feel so good, sugu.”

“ngh—sh-shit,” he hisses at your words, cock almost swelling harder at the way you praise him, at the way your words are almost slurred with no real thought behind him. it’s a little pride-inducing, the way you’re still able to sing his praises without having to really think about it first. he can hear it, the way you’re lost in the drag of his cock, drunk in the haze of pleasure, unfocused on everything else besides the way he bullies his thick girth into your abused cunt.

it’s a mess, it’s filthy the way there’s a mix of pre cum and your slick at the base of his cock, along your inner thighs, coating your skin as the squelching sound of him nudging past your folds fills the room.

it’s good, the way he makes you feel—he can hear it in your voice as you wail his name.

“s-suguru—oh.”

“what, you gettin’ all fucked out on me? ‘m not even close yet, princess,” he hums, leaning down to kiss your neck as he sucks softly into your sweet spot. you throw your head back, rasping out a cry of his name again as his balls slap against your ass with a harsh roll of his hips. 

and then his hand makes its way between your bodies, thumb attaching itself to your clit before rubbing punishing circles into the bundle of nerves—you sob at that, back arching up as your chest presses against his, nipples hard as they brush along his skin.

“s-sugu—close, ‘m gonna cum a-again—so close,” you pant brokenly, every sentence cut off with a sharp gasp as he thrusts into you. 

you’re close—you can’t fight back the way the coil in your belly snaps as he teases your clit. it’s still sensitive from the last orgasm, every nerve still burning up from before as he gives you more, gives you too much, almost. you cum harder this time—your second high creeping up on you when you least expect it. 

it makes your eyes roll back, makes your thighs quiver, and tears stream down your cheeks as you chant his name over and over. suguru, ‘s so good. suguru, ‘m cumming. suguru, ‘s all for you.

every sentence makes his cock drill into you faster, sloppier in rhythm, maybe, but faster. needier. bordering on desperate. 

“f-fuck, baby,” he grunts, “squeezin’ me so tight—such a tight fuckin’ cunt. you think just anyone deserves this? think you can just walk around and let anyone fuck this? ‘s bullshit—ngh.”

you don’t answer—can’t answer, in fact. it’s all teary eyes and soft sniffles as you mewl with every thrust, voice breaking between every pretty little sound you make. he’s still fucking into you, still dragging his cock against those sensitive walls, still bumping against your clit with his navel, still nudging against your sweet spot with his thick, swollen tip. it’s almost too much—it is too much, making you writhe under his body as you try to form the words. 

“‘s t-too much, sugu—c-can’t anymore,” you try, “can’t.”

“what?” he gasps, furrowing his brows in mock confusion, “you’re tappin’ out on me already? but ‘m not even done yet, sweetheart. haven’t even finished yet—don’t tell me you’re already spent. how will you keep up with your little boyfriend’s stamina if you can’t even take an old man like me?”

“c-can’t take anyone but you,” you sob, “jus’ you—only you. promise.”

“yeah? you swear?”

“uh huh. jus’ you, sugu—don’ want anyone else. won’t fuck me the same.”

“atta girl,” he coos, chuckling as he leans down to kiss your jaw, trailing soft pecks until he meets your lips, “that’s what i thought. make sure you don’t forget, okay?”

“fuck, suguru—’m…g-gonna…”

“gonna what? cum? you’re cumming again?” you nod at that—he grins wide, pride settling into the crinkles of his eyes before his thumb rubs harsh circles into your swollen clit once more. he looks pretty like that—hair framing his face, the mix of black and white strands sticking to the damp skin of his forehead. his skin is flushed, abs flexing as he pants over you. sometimes you feel guilty that half of why you come over to visit nanako and mimiko is to fuck suguru—the guilt is quickly extinguished when you see him like this, bottom lip caught between his teeth as his arms barely hold him over you, eyes shut tight as he groans. 

“i-i’m—fuck, fuck, fuck,” you can’t form sentences anymore as you cum—again. not that you really could before that, but now all you can offer is croaked half-syllables and shaky sobs. your walls squeeze around him, tight as they hug around his throbbing cock. 

it takes one, two, three more sloppy rolls of his hips before he lets out at a low, “baby, fuck—’m gonna fill you up. want that? want me to cum in you? make you mine? always been mine, haven’t you?”

“yes, yes—yours, sugu. yours, yours, yours,” you babble, words slurred between breathy moans and broken sobs. “wanna be yours.”

you can feel him—feel the way his cock twitches in you, the way he grinds into you to ride out his high, the way sticky, hot ropes of cum fill your walls, the way he fucks his load deeper into you with every sloppy thrust of his hips. his arms quiver as he holds himself over you—just barely, though. you can hear the way his voice cracks as he gasps your name over and over, as he mutters lowly about how you’re his, how you’ll always only be his. 

“mine,” he grits, “you’re fuckin’ mine—see how you’re suckin’ me in? see how i fit in this pussy like it was made for me? ‘s cause you’re mine.”

his body slumps onto yours as he finishes, head pressed into the crook of your neck as he kisses the skin while you both catch your breaths. you whimper, still sensitive, as he pulls out of you, a soft chuckle falling past his lips as he pulls his head up to look at you and press a kiss to your cheek. 

“so,” he starts, eyes laced with amusement as he takes in the fucked out look on your face, the tears still drying your cheeks, the swollen flush of your bottom lip, “still think you need someone with more stamina? someone who’ll fuck you better—”

“god,” you groan, slapping his shoulder, “will you drop it already? you got what you wanted, didn’t you?”

“no,” he murmurs, pecking your lips, “still wanna hear it some more.”

“your ego needs a reality check,” you huff as you brush a strand of hair from his forehead, “think i’ve fed it plenty all night.”

“actually, i think you crushed it,” he pouts theatrically, “talking about some asshole who doesn’t care about you right in front of me. after i take such good care of you, too. the girls already think you should date him,” he adds the last part with a slightly bitter roll of his eyes, pulling a giggle out of you.

“they think i don’t know how to talk to men,” you snort, “imagine they knew i was talking to men old enough to be my father.”

“hey,” he clicks his teeth, falling onto the mattress beside you—he pulls you into his chest, letting your cheek rest on his bare skin. it’s so wrong—lying in bed with the father of your best friends. but somehow, suguru feels like the only thing you’ve ever done right. “age is nothing but a number, sweetheart.”

if i have to see the word cock one more time im going to eradicate all humans that have them

do not comment about a part 2 !!!!!!!!!!

[harmonysanreads]

Playing Dress Up

ᯓᡣ𐭩 ft. Sunday, Aventurine, Dr Ratio, Blade

Heads up: Female!Reader, Possessive Behaviors, Very Self Indulgent

-; ੈ♡˳ SUNDAY

Sunday seeks refinement in every aspect of his life, this does not fail to extend to how you'll dress yourself while tied to his prestige as well. Sifting and digging through uncountable articles on women's fashion, extensive research on sources to make his vision come to life — Sunday hadn't even put this much effort into drafting his own style. What beget this initiative is rooted in his innate desire to make your connection to him clear through means sans saying it outright, though he'd much rather present it as his attempt in searching for a style that is uniquely yours ; which he does wish for to a degree, not to fret.

Your clothing will be weaved from scratch with the finest threads, silk and satin will be cut, folded and stitched to perfection. Even the measurements of your clothing will be penned down by the man himself : skirts must be of moderate length, not too long or too short and necklines must be modest. Said attires will be painted in shades of white, blue and gold ; his colors in short. But anything under these graceful dresses will be sleek black, a secret that'll never meet the public eye. The motifs of his halo will be skillfully engraved on the canvas that is you ; woven on the dresses, tempered in jewelry to adorn your hair and ears and not even your shoes will be spared.

The principle Sunday follows throughout this charade is complexity through simplicity. While one might think you'd look much like an over-groomed poodle after this, the gentle elegance of the reality will surprise even you. That is because Sunday practices caution in areas that are easy to complicate, jewelry for example. He's partial to earrings, bracelets, brooches and hair ornaments — not necklaces as he prefers the unobstructed beauty of your decolletage. Even those few ornaments are not gaudy in design, selected exclusively to accompany than to steal the stage. But the stones, diamonds and pearls he orders to be embedded in them are far precious than they initially suggest. After all, you deserve nothing but the best.

Most of Sunday's struggle was concentrated in the makeup area, for which, he had before anything else, scheduled an appointment with a dermatologist. Only when he had a detailed report on what products would suit your skin and what would harm you did he place the orders. Sunday thinks this endeavor to be much like conducting an orchestra : not all will understand why the conductor standing on the podium spins and twirls the baton, but when the tunes from the instruments unite and bring the melodies to life, it all makes sense.

-; ੈ♡˳ AVENTURINE

Aventurine has no patience for subtlety and employs bold tactics to get his message across. Should someone be naive enough to interrogate the man himself in his extravagant displays, he'll be unflinching in his reasoning as well. No amount of zeroes attached to the price tags or repeated cursory glances from passerbys will deter him in his shopping spree and should you complain about the mounting amount of bags — well, he has two perfectly functioning arms and adjacent shoulders sparkling in their vacancy, doesn't he? Your job is to just point out what catches your eyes, sweetheart.

The Stoneheart has discovered a sweet spot for matching since you entered his life ; which will materialize in earrings, bracelets, rings, hats, sunglasses, coats, chokers and the list goes on. Even though he gives you fair chances in choosing your attire, he'll not so discreetly sneak in pieces that'll reek of him. In occasions where this charade gets spectated by more than two pairs of eyes, Aventurine is less teasing and more edified in his intentions. Blue, pink and emerald coating fabrics that expose more than they cover will mock wanton eyes and they'll say loud and clear — this will never be yours.

Aventurine's favorite part has to be picking the perfumes for you. If you already have preferences, he'll scout the finest brand of that fragrance and make sure no other being in the expanding universe will be able to acquire it from then onwards. It just so happens that he also sees the importance of securing something that is uniquely you. If you're indecisive about perfumes, then even better! You can be doused in the fragrances he indulges in, keep no doubt that they'll be tasteful.

All this glamour might give the impression that Aventurine never allows you or himself to ever be stripped of the fanciful, glimmering and glittering layers oozing with the repute of uncountable credits. However, you were pleasantly surprised to find his lax attitude concerning your nightwear. You did not see any flickers of that ravenous flame concealed beneath enigmatic smiles even if you wore something bruised and tattered by time or, if you stole something from his wardrobe upon a random urge. Perhaps in moments overlooked by the light of distant stars, he treasures above all the sight of you in your most natural state, and wishes he could indulge in the same vulnerability as well.

-; ੈ♡˳ DR RATIO

The prodigious Veritas Ratio loves watching you get dressed, although there's a scarce chance of him openly admitting to his shameless ogling. Ironically, his genius receives negative marks when he tries to search for a rational reason as to why he continues regardless of your teasing — which, just so happen to never have sufficient burn to deter him for good. There's an odd sense of peace in spectating you building your look, in the movements of various tools and scattered, dexterous hand gestures. To him, it's almost synonymous to sculpting ; shaping something unremarkable to a display of skill and artistry.

Ratio thinks studious scholar should never limit their perspectives, which is why he tries to broaden his agenda with new experiences constantly — or at least, that's the excuse he ultimately settles on. He's yet to tell you of this, but he's certain he's acquired quite the quantity of knowledge on makeup from his observations. He knows the difference between foundations and concealers, in which order the cosmetics are applied and has a decent understanding about shades and highlights. It's safe to say, you can rely on him on this matter should there ever arise such an occasion.

When it comes to clothing, Ratio appears to be quite indecisive, form fitting or loose, he has no issues. The area where he is particularly strict, is hygiene. Which means no missed baths, or any half-hearted showers. After he's found himself comfortable in your presence, he'll take personal initiative to make sure your baths are never boring. Fragrant body washes, essential oils, exquisite rose water, bath bombs, shampoos — he has it all covered. Another astounding discovery for the scholar was that he adores taking care of your hair, in particular. He always takes extra caution when washing it, buys smoother combs so that it might not get damaged and occasionally tries different hairstyles — though he's not very skilled at it. But learning has never been an effortless process to begin with, he's sure he'll be able to decorate your hair the way he desires properly one day.

-; ੈ♡˳ BLADE

Blade seldom comments on your choice of attire, but it doesn't mean that he never thinks about it. He prefers to dismiss most of those bubbling thoughts, for what does a weapon understand of fashion senses and trends? What he does offer you instead are drawling stares tiptoeing before the line of glares. Insufficient time knowing the enigmatic Stellaron Hunter will prove your inefficiency in understanding his brooding gazes. Should you directly ask his opinion on a certain outfit, it'll not earn you more than a grunt or a hum. But coming from Blade, that would be considered a lot.

In truth, Blade finds himself bewildered before the feelings you stir within him through the most mundane actions. He was certain that wanton emotions, urges and his humanity were devoured by the curse. For centuries, he wandered without a definitive purpose, stewing in the rage and hatred bubbling from his fate. Above all, he did not think himself human. So when you, in all your bright and humane light dug through the battered cage of his ribs and made yourself its soul resident, tugging him closer closer closer towards that tunnel's end through seemingly meaningless antics — Blade was lost.

It made him afraid sometimes, for the unreachable end that he always clawed towards seemed to lose its appeal before you. When he realized one day that he liked lighter colors on you, that he enjoyed watching you practice a hairstyle for hours, that he loved how your lips shimmer after a swipe of lip gloss, that he'd not trade the matching tassels you gifted him on a whim for the universe — the appalling realization that living is just a tiny bit more bearable with you around crashed on his beliefs and destroyed him beyond repair. Which is why, for the longest time, he didn't know how to respond to any of your gestures ; far too occupied with processing whether its the talons of mara digging into his sanity or just plain pleasant emotions.

Blade is often irresolute when you ask for his opinion on your clothing, not because he has not the faintest idea of what is considered appealing but because, you just look good in everything in his eyes. There's a particular garment though, form fitting Qipao with cheeky side slits that had him run the first time you wore it. Only after Kafka's reassurance that no, it isn't his mara was he able to gather the courage to approach you again. In conclusion, be prepared for every possible outcome when you're dolling yourself up for Blade.

[historicity-was-already-taken]

I am posting and responding to this ask anonymously as I don't want anyone harassing its sender. This has already been communicated with the person who sent the ask.

I just want to thank you for being a light in the darkness of anti-semitism, especially on this website. I have found I am on this site a lot less ever since it was made clear that other leftists here are more anti-semitic than we ever knew possible, using very specific wording of our own trauma against us (i.e. saying stuff like "colonialism", "genocide/ethnic cleansing", and calling JEWISH PEOPLE Nazis). It feels like, at best, they know Hamas ≠ All or even most Palestinians, but think that they think all JEWS = Bibi; and at worst, agree with Hamas and think of him as some sort of "freedom fighter". So, thank you from one leftist Jew to another, just trying to keep afloat here. ❤️

You are very welcome; it's certainly been overwhelming, and I'm glad this can be a safe space for you.

I do want to push back on some of this ask, though. Specifically in regard to terms such as "colonialism," "apartheid," "genocide," and "ethnic cleansing."

The use of these terms is not inherently anti-Semitic. For a lot of people, these terms are the best ones they have access to describe what they are seeing. I do think such terms as “colonialism” and “apartheid” are overly simple in regard to the last ~3000 years of Jewish history, and that they cast the situation into an alien historical context which dilutes and uncomplicates the all the historical realities at stake, but I truly do not think that all who use these terms do so to cause Jewish people pain.

Further complicating the picture is that terms like "colonialism" aren’t completely wrong. Modern Zionism arose in the context of mid-nineteenth century European large-scale movements towards nationalism (ie, the creation of nation-states) and away from the multi-national empire. Jews—a subject of anti-Semitism and fifth columnist suspicions within those emergent European nations—reacted to all this by joining the nationalism game.

What’s ironic, is that those European Jews who founded contemporary Zionism were reacting to the exclusion and racial hatred with which Gentile Europeans treated them, and then once they had some settlements in Palestine, they deployed similar variants of racial hatred at both the Palestinian Arab population, and Middle Eastern Jewry.

The existence of a distinct people and ethnic group in Palestine before the aliyot were not something the first generation of Zionists were concerned with. Because they were part of the same shitty, white supremacist, pro-imperialistic intellectual European tradition to which they were responding as victimized parties. As time went on and Zionist thought spread across Ashkenazic communities, we can see some variants. Some forms of far-left Zionism in twentieth century Poland, for example, actively built the presence and rights of Palestinian Arabs into their ideology, some of them actively stating that Zionism could not be a success if it necessitated transforming Palestinian Arabs into a group of secondhand citizens and a cheap source of labor in their own home.

Those leftist strands of Zionism tended to be Socialist/Communist in nature, and centered around the idea of life in Eretz Yisrael as one of a series of self-sufficient communes. Thus when the 1930s hit and things start to go bad, the Zionists we see fleeing to Palestine tended to be of the more centrist and far right variants. The left wing, socialist movements, already operating as a collective, had a membership uncomfortable with fleeing to safety while the rest remained behind.

And that same socialist/communal attitude, is why those variants of Zionist thought never made it into the Israeli political mainstream; most of their members and proponents were murdered in the Holocaust in part because they refused to leave their comrades behind. The General Zionists and Zionist Revisionists who rode out the years of the Holocaust in Palestine therefore already had access to the avenues of power which would become important in 1948, when the British Empire shrugged off its responsibilities towards the regions it colonized and destabilized.

Now, as for ethnic cleansing. I can’t sugar-coat this: that’s what the Naqba was. It was ethnic cleansing of Palestinian Arabs from their homes to make way for the Jewish State. The manipulative shit (but still somehow extremely prestigious) youth group I was in taught us that Arabs call it Naqba because they hate Jews and therefore existence of Jews in the Southern Levant was a tragedy, as was the fact that Hitler didn't finish the job.

That’s garbage: it’s called the Naqba because it was ethnic cleansing. And that's not the fault of the Holocaust survivors who made their way to Mandatory Palestine/Israel in the late 1940s--they lacked political power, and were often looked down upon by those who did; the Holocaust as part of Israeli National Mythology wasn't an immediate Thing.

If you spent your formative years around older Jewish folks of A Certain Generation, whose trauma has pretty much placed a permanent block on their ability to see some of what went down in 1948 for what it was, I can’t blame you for having that gut/cognitive dissonance reaction to the use of “ethnic cleansing” in the context of Israel and Palestine. I know those older folks. I loved them. They’re mostly gone now, and I miss them terribly. But their trauma-induced view of everything lives on in the ability of some younger Jews to properly name and understand what it is that happened in 1948.

It was ethnic cleansing.

Further, not only were Palestinian Arabs ethnically cleansed, but the Middle Eastern and North African (MENA) Jews who were forced by their governments to flee their homes of thousands of years and seek refuge in Israel throughout the second half of the twentieth century…the Western and Central European Jews in control of Israel and its institutions treated them like shit too. Hadassah actively stole the babies of Yemeni Jews, told the parents that their children were dead, and rehomed them to Ashkenazic couples. There were death certificates. Members of the Ethiopian Jewish community were forcibly sterilized, and their ongoing treatment by the State is racist and generally atrocious. And this analysis of the relationship between the Israel State, MENA Jewish populations, and different Ashkenazic groups in Israel is horribly short and overly simple.

As for genocide. I honestly don’t know. I do know many people, who are very much not Anti-Semites, who are calling what’s happening in Gaza right now genocide; many of these people are also Jewish. I know many others who refer to the experiences of Palestinians between 1948 and now as a slow genocide. Many of these people are also actively not anti-Semites, and many of them are Jewish.

So these terms, as uncomfortable as they may feel for people within the very specific Jewish generational background I believe we share, are not deployed as anti-Semitic weapons. Nazi comparisons? Yes. Swastikas superimposed over the Star of David? Yes. Very specific hook-nosed Jewish caricatures in relation to Israelis? Yes. Blood libel shit? Yes. These are all anti-Semitic, and are deployed to hurt and retraumatize Jewish people. But the rest are not nearly that simple.

And I didn’t learn this from like, Bad Evil Post-Modern Academics at Columbia University Who Hate Jews; I learned this from doing graduate-level work in the field of Modern Jewish History, and working in Jewish archives; this did not come from outside the building.

Now, as for Hamas as freedom fighters…that’s ignorant at best. Hamas’ charter clearly calls for the global destruction of the Jewish people [ETA: they edited this part out in 2017 for PR purposes], and their actions as rulers are horrifically, violently, homophobic, and seem to be more abut provoking Israel than they are about governing and protecting their people. But as you said, Hamas isn’t all Palestinians, and it’s also not all Palestinians who consider themselves freedom fighters. (A second reader of mine had the following commentary on this paragraph: "Might need a bit more complication around Hamas? I know that's not your area of expertise but it's worth mentioning that they were basically set up to undermine the PLO and what would become the Palestinian Authority in the West Bank. You're right that they aren't representative of all Palestinian thought and resistance, and that they are on some fuck shit.")

So while I’m so glad that blog is a comfort to you, I encourage you to also take a step into some of your discomfort, and ask yourself where it comes from.

No one reading this post has my consent to use it to silence other Jewish people who are in different stages of their journey towards understanding how generational trauma has impacted their ability to grasp all of this. Further, if you choose to attack me for gently calling my people in, you're a piece of shit and I will be mean to you.

[probablyasocialecologist]

Though the Centers for Disease Control and Prevention has stopped counting Covid-19 cases, according to wastewater data—which emerged early on as an accurate tracker of the ebbs and flows of the virus—we are currently in one of the biggest surges of the pandemic, amid the spread of a new variant, JN-1, as the virus keeps mutating. More than three-quarters of U.S. hospital beds are currently in use due to Covid hospitalizations. Uptake of the most recent booster shot, which should help to protect against the new variant and lower the risk of severe cases and the odds of getting long Covid, hovers around 19 percent. Meanwhile, the most recent White House response to a question about whether they had any guidance for hospitals, some of which have brought back mitigation protocols in response to the most recent Covid spike, came courtesy of press secretary Karine Jean-Pierre: “Hospitals, communities, states, they have to make their own decisions. That’s not something we get involved in,” she replied, appearing exasperated. “We are in possibly the second-biggest surge of the pandemic if you look at wastewater levels,” said Dr. Monica Verduzco-Gutierrez, who runs a long-Covid clinic at the University of Texas, San Antonio, and has had ongoing Covid symptoms since August 2022. “There is no urgency to this. No news. No discussion in Congress. There is no education.”

[...]

Since the Biden administration declared the end of the national emergency in May, Americans across the political spectrum have largely followed the example set by the government and entirely disposed of any level of Covid precautions. Liberal and left-wing outlets have participated in the normalizing of Covid too, dismissing or even ostracizing people who still take precautions as if they are tin-hat conspiracy theorists. “We can’t be in lockdown forever,” has become a common refrain, as if wearing a mask on the subway constitutes “lockdown.” In September, Biden himself participated in the spread of this kind of harmful disinformation when he declared the pandemic “over” on 60 Minutes. “If you notice, no one’s wearing masks,” he said. “Everybody seems to be in pretty good shape.” This is, essentially, governing via “vibes”—so much for “following the science.”

[...]

The consequences of discarding all Covid precautions are becoming clearer, as more people get repeated infections and long-term symptoms, amid an alarming spike in heart problems among healthy young people. People are getting sick more often not due to the myth of “immunity debt,” which posits that the lack of exposure to other people during lockdown has made people less able to fight off infections (three years later), but because Covid weakens the immune system. Each time someone contracts Covid, the odds of long-term complications increase.

[alphajocklover]

InstaJock: Details and Settings

I’ve mentioned before, in passing, about the inner workings of the InstaJock app. I always mention the basics: that the app instantly transforms anyone who uses it into a ripped jock the second they finish setting up their account. No mess, no fuss, one moment they’re a nerd, the next they’re a total fucking stud. It’s nice because it’s simple and easy. But… there’s more to it than just that. Today we’re going to go into the more complicated parts of the app.

A lot of people wonder why the nerds that get invited to the app accept the invitations at all. Sure, some of them are overjoyed at the idea of turning into manly jock bros, but there have to be some nerds who prefer to stay as their geeky selves or who don’t trust the suspicious app that they can barely find any mention of on the internet. The thing is that the people who get the invitation are just… compelled to accept it. Some can hold out longer than others, but eventually the app becomes an itch they have to scratch and they end up joining the growing number of InstaJock studs.

Another thing is that InstaJock can do a little more than just jockify the user. To be fair that is its main function, and it's the most impressive one, but as I’ve mentioned before you can alter things more specifically by changing your profile or adjusting the apps settings. With a few changes you can change your history so that you’ve always been a jock. You can change what type of jock you become by choosing from a list of presets, or even change more specific things about yourself. Take this new InstaJock user for example. He made a couple of quick adjustments on his user profile and suddenly he wasn’t a white nerd anymore, nor had he ever been. Everyone remembered him as the dumb alpha asian jock he now was.

The more I learn about InstaJock the more impressed, frightened, and admittedly horny I get. I might try it myself someday…

**hey there again! My 6th post today! I’m feeling real creative lately I guess. A friend of mine in my dms expressed a love of Asian jock tfs so I figured it’d be fun to do a little more race play. Hope you enjoy!**

[astroloverblog]

astrology observations part. 3

💫 HIGHLIGHTS: Pisces Moon, Lilith in 3rd/4th/5th/7th/10th/11th, Capricorn Moon/Rising, Mars in Aries/Taurus/Scorpio, Venus Opposite Moon, Pluto Sextile Asc, Gemini/Libra/Leo Rising, Aries/Aquarius Venus, Saturn in 3rd/12th, Sagittarius & earth signs in big 3‘s, Jupiter in 11th, Fama (408) Conjunct Jupiter, Industria (389) in 2nd, Rahu in Leo & Ketu in Aquarius

Use Rising Sign:

introverts: Cancer, Scorpio, Pisces, Capricorn, Taurus, Virgo

extroverts: Aquarius, Libra, Gemini, Leo, Aries

ambiverts (both): Sagittarius

☂️ Scorpio & Sagittarius are a good example for understanding the deeper meaning of life with questions like “Why am i here?” “What is my purpose?” etc. They often question the meaning of life.

☂️ 8th house Gemini always talking about sex but are rather interested in the mental side of the relationships instead of the sexual. Tendency to black-white thinking.

☂️ Mars in Taurus love when you kiss their neck, they have a high sex drive and their possessions are the most important thing for them. Buy them necklaces.

☂️ Lilith in the 3rd house people tend to steal, cheat, lie or fake documents. Always fighting with their siblings.

☂️ Venus Opposition Moon have complicating relationships, more the type for one night stands. Its hard to cooperate with them because their needs are quite the opposite of what they feel. You have high expectations of your partner. Maybe try loving yourself first before loving others.

☂️ Gemini Risings fall for anyone who‘s funny, they need partners that are charismatic and relatable. They smile a lot when their lover is around. Their first thought in the morning is usually; „Where is my phone?“

☂️ Lilith in the fourth house have a challenging relationship with the family or mother, might be someone with toxic roots.

☂️Taurus 5th house ppl love collectables like funko pop figures, trading cards or even collecting video game consoles.

☂️ Moon in Pisces can easily isolate themselves from others when they feel the need to. They have a strong passion for singing, dancing, comedy, art or any other talent. Interested in deep & meaningful conversations.

☂️ Mars in Aries loveeee dominating in relationships (especially in bed🤌) They love dramatically and if you mess with them you’ll always get it back. They always fight back. Might have a uncommon taste in music, food, fashion, etc.

☂️ Lilith in the 5th house have selfish pleasures, might struggle with addictions or a hurt inner child.

☂️ Lilith in the 7th house have difficulties with relationships, might be manipulative, could attract toxic partners and enemies.

☂️ Capricorn Risings come off mature & when they get compliments they might compliment back. Normally very popular especially in high school, they smile a lot. Like to take many pics of themselves.

☂️ Lilith in the 10th have compromises at work and a complicated public image. They can be harsh towards their co-workers.

☂️ Pluto Sextile Ascendant like to be with ppl one-on-one instead of being in a group full of people. Might be explorative of the taboo areas of sexuality, especially domination, whips, leather, etc. (Fifty shades of grey, that‘s all i‘m saying🤭)

☂️ Capricorn Moon are the ones annoying everyone and at the same time feel annoyed by everyone. (If that makes sense lol) Its giving ENTJ personality type. They never know how they feel, their mood can go up and down. Hate when people talk behind their back, feels like everyone betrays them.

☂️ Lilith in the 11th you might have obsessions about the future, your friend group can have a bad influence on you.

☂️ Libra Risings struggle the most deciding what to wear, they always say smth like “I have nothing to wear” when their closet is a whole mall shop of clothing. They can easily get offended by others opinions since they’re sensitive & can’t handle criticism very well. They love following fashion trends.

☂️ MC in a fire sign gives leadership abilities and big chances of huge success in their career. They need a job that motivates them and usually know exactly what kind of job they want.

☂️ Mars in Scorpio are somehow really into playing the drums. Females with this placement could be „tomboy“ like, since this Mars is more masculine.

☂️ Is there a specific reason that especially people with earth signs in their big 3 are interested in fantasy fiction including; harry potter, lord of rings, star wars and so on?

☂️ Saturn in the 3rd are normally the type who hates small talk, has a small social circle & usually avoids going to parties. Might also prefer texting instead phone calls or facetime.

☂️ Venus in Aries love jewellery especially earrings or rings in general. Buy them any jewellery as long as it suits their skin tone.

☂️ Rahu in Leo & Ketu in Aquarius start listening to your heart instead of your head. Avoid being emotional detached and let go of the habit having to „fit in“.

☂️ Venus in Aquarius may appear shy at first, but deep down they are extroverted. They fall for intelligent, unique and independent lovers. They might not show that they care, but deep down they do. They seek pleasure in business or technology.

☂️ Venus/Mars in Scorpio its important for you to understand your deeper emotions and know what you want. You are charismatic and fall for emotional intelligence & for dynamic and powerful partners.

☂️ Fama (408) Conjunct Jupiter is such a important indicator for getting famous one day, even in persona charts. Having this placement in of your persona charts (check your dom planets & their persona charts) can be so important too.

☂️ Venus in Aries (again) are impulsive at love, the relationship gotta be exciting or they‘ll loose interest/feelings quick. Give them a reason to stay with you, winning their heart over is not easy at all. Check on them 24/7 or else you make them feel unworthy or unloved.

☂️ Leo Risings are such people pleasers (at times) but they are always attracted to popular people or ppl that are unique, really open and playful.

☂️ Industria (389) in the 2nd house can make it look so easy to make money, even when they get fired and loose their job, they still find a way making money. Although they never run out of money, ever.

☂️ The 12th house can show what you lack the most. For ex. Taurus in the 12th: lack of trust, security, stability. Cancer in the 12th: lack of kindness, empathy, a home, emotions. Saturn in the 12th has a tendency to self harm.

☂️ Sagittarius in the big 3‘s or having Sagittarius 9°, 21° degrees makes someone have the best. humor. ever. Showing comedy tv shows or anything associated with comedy is their absolute favourite thing to do. guys I‘ll recommend minions on this one.

☂️ Saturn in the 12th house individuals biggest fear might be dying alone. They often feel guilty and might be artistic or at least have writing skills. They could have wanted to kill themselves before or even tried doing it.

☂️ Jupiter in the 11th house if Jupiter is weak, the natives tend to overeat and overdrink & can easily get addicted to alcohol. If Jupiter is well aspected, they are blessed with good-looking partners and a happy marriage.

sorry it took me so long to make this post, I’m so proud of you guys we almost made it to 600 followers! :P

[elinordash]

Thank you @cobbbvanth for asking me for this; I’ve never been more flattered! ☺️ I’ve only been making gifs for a little more than 2 years, so I’m really still only figuring Photoshop out, and my colouring owes everything to other people’s tutorials (some of which can be found here). To be honest, I was only asked some tips, but I have no clue what to include and what to leave out; so, here’s my complete (if random) colouring process.

NOTE: This is a colouring tutorial, not a gif-making one. The tutorial that taught me everything I know about that (and to which I am eternally grateful) is this one by @hayaosmiyazaki.

I. SHARPENING My standard sharpening settings are:

One Smart Sharpen filter set to Amount: 500 | Radius: 0,4

A second Smart Sharpen filter set to Amount: 10 | Radius: 10

One Gaussian Blur filter set to Radius: 1,0 and Opacity: 30%

One Add Noise filter set to Amount 0,5 | Distribution: Gaussian

II. BASIC COLOURING This is the part where I add most of the adjustment layers available and just play around with them. Obviously different settings work for different scenes, but I do have some standard ones.

Brightness/Contrast I usually up the Brightness to +10-30, and the Contrast to about +10.

Curves

For the first Curves layer I go to Auto Options > Enhance Brightness and Contrast, and then adjust the opacity until I’m happy.

I might repeat the above step if the gif still looks too dark to me.

I add another Curves layer, I go to Auto Options and this time I pick either Find Dark & Light Colors or Enhance Per Channel Contrast, and check or uncheck the Snap Neutral Midtones option, until I see something I like. I will then adjust the opacity.

Levels I add a Levels layer that usually looks something like this:

Exposure I add an Exposure layer, where I usually set the Offset to around -0,0010.

Selective Color To make the faces look okay, I create a Selective Color layer, select the Reds and usually add some Cyan (+10-20%) and play around a little (±5%) with Magenta and Yellow too. I might also add another layer, select the Yellows and make slight tweaks there too.

III. FUN COLOURING About colour manipulation: PiXimperfect just uploaded a tutorial that explains everything so much better than I ever could, so I highly recommend you go watch it. It’s made for static images though, and things are more complicated with moving images, so I also recommend @elizascarlets’s tutorial.

The reason I usually go for a softer colouring is that a more vivid one requires a lot of patience and precision, and I honestly can’t be bothered. Instead, I try to tweak the colous only a little, so that the edges can be a little rough without it looking too wrong.

One thing to remember is that each gif is different, and there isn’t one foolproof way to do this, so you will need to use a different technique depending on the gif you’re working with.

Okay, so, after I’ve decided what colour I want my background to be:

1. I create a Hue/Saturation layer and change the greens, cyans, blues and magentas to that colour. That’s easy enough, since it doesn’t mess with the face colour. I then set the blending mode to Color. If your background doesn’t include any yellow or red, you might be done here, like in the case bellow:

2. To change the yellows and reds, I create a new Hue/Saturation layer, select the yellows/reds, move Saturation to 100 (temporarily) and then play around with the sliders until the face colour isn’t affected. I then change it to whatever I’ve chosen and change the blending mode to Color.

3. If for whatever reason step 3 doesn’t work (the background is white or black for example, or just too red), I might create a Solid Color layer set to whatever colour I want, set the blending mode to Color and then select the layer mask and carefully paint with a soft, black brush over the people’s faces/bodies. I will then lower the Opacity, to whatever looks smooth enough. If there’s a lot of movement in your gif, you might have to use keyframes (see elizascarlets’s tutorial linked above). However, my main goal is to avoid using those; that’s why I try my hardest to tweak around as many Hue/Saturation layers as needed and not have to create a solid color layer.

4. Once my background looks the colour I want it, I might add a Selective Color layer that matches my background color and then try to make it look more vibrant. For this Aziraphale gif below for example, I’ve selected the Cyans and then set Cyan to +100%, Yellow to -100% and Black to +60, then created another one, selected the Cyans again and then set Cyan to +20 and Black to +20.

5. If the gif has a white area, I create a Solid Color layer with a colour that matches the rest of the background and then set the Opacity low. I might also create a Selective Color layer, increase the Black and then play around with the colours.

IV. FINISHING TOUCHES

I create a Vibrance layer and set the Vibrance to around +30 and the Saturation to about +5.

I create a black and white Gradient Map layer (with black on the left end of the spectrum and white on the right), set the blending to Luminosity and the Opacity to about 20-30%.

AAAND that’s about it I think! This ended up way too long and perhaps a little incoherent. I tried to make it as general as possible, so you might have to mix and match for best results. Feel free to ask me for further explanations about any one of these steps, and please tell me if you want me to go through the colouring of a specific gifset (although, as I said, I'm by no means an expert). Happy gifmaking!

[colleendoran]

Neil Gaiman's CHIVALRY: From Illuminated Manuscripts to Comics

One of the many reasons I wanted to adapt Neil Gaiman's Chivalry into graphic novel form was to create a comic as a bridge and commentary re: comics and illuminated manuscripts.

We're often told that the first comic book was Action Comics #1 featuring Superman, a collection of Superman comic strips that morphed into comic books as an art form.

Sequential art predates Action Comics #1.

Action Comics popularized sequential art book storytelling that had already appeared in other forms in fits and starts throughout history. Comic books didn't take off as a popular medium for several reasons, not least of which was the necessary printing process hadn't been invented yet and it's hard to popularize - and commercialize - something most people can never see. 

You find sequential art in cave paintings and in Egyptian hieroglyphics. I've read that comics (manga) were invented by the Japanese in 12th century scrolls.

And sequential art appears over and over again in Western art going back well over 1000 years, and in book form at least 1100 years ago.

The most obvious example of early sequential art in Western art - as a complete narrative in sequence - is the Bayeux Tapestry. 

At 230 feet long, this embroidered length of cloth was likely commissioned around the year 1070 by Bishop Odo, brother of William the Conqueror. It depicts the Battle of Hastings in 1066 and the invasion of England by the Normans. (The tapestry was made in England, not in France, but it is called the Bayeux tapestry because that's where it is now.)

Imagine what a task it was to embroider this thing. Whew. And you thought it was hard learning Photoshop.

This work of art is important in the history of sequential narrative, but the Norman invasion is also important to the legend of King Arthur - and another important English legend - for reasons we'll get into later. 

It's complicated.

All this is why you see this art in the background of this page of Chivalry.

Using the Romanesque art style of the tapestry in panel 1, I've added the Latin phrase "Rex Quondom, Rexque Futurus" - "The Once and Future King", the final words of Sir Thomas Malory's Le Morte d'Arthur as inscribed on King Arthur's tomb, and the title of T.H. White's famous Arthurian novel.  (EDIT) and it has been kindly pointed out to me that QUONDOM should be QUONDAM, which is hilarious and annoying and this is how history gets rewritten by accident.

My original intention was to draw this Bayeux Tapestry scene out and juxtapose it with shots of Galaad interacting with the children, but the two page sequence I imagined didn't really work as well in reality as it did in my head. 

Foremost among my concerns was that the tapestry reference might be too obscure for most readers. I wanted to weave the visual meta-text of Chivalry into the story (For further reading on this project and my use of visual meta-text, symbolism, and history in Neil Gaiman's Chivalry, go HERE. And HERE. And HERE. And Yet again HERE.) in such a way as it would enhance the experience for people who "got" the visual meaning, while not dragging things down for people who didn't. So I cut this scene down to one panel.

The tapestry is a complete, long form comic strip created over 1100 years before some people claim comics were invented. So, I loved being able to reference it here.

But even more interesting to me are the sequential art sequences that appear in illuminated manuscripts - comics in book form.

I once got into a rather vicious argument with an academic who insisted illuminated manuscripts were comics. I said no. She said yes. Then she insulted the lowly comic artist and blocked me on Facebook.

Whatever.

My point was not that you can't find sequential art in illuminated manuscripts. My point is that an illustrated book isn't de facto a comic. Most illuminated manuscripts are illustrated books. Some illuminated manuscripts contain sequential art.

Just because opera is music, that doesn't mean all music is opera.

Just because comics books are books that doesn't mean all books are comic books.

And just because some illuminated manuscripts contain sequential art, that doesn't mean all illuminated manuscripts are sequential art.

But one is.

Let me show you it.

One of the earliest examples of an illuminated manuscript with comic art is The Bible d'Etienne Harding which you can see in this really bad jpg here, sorry, best I could find.

Created around the year 1109, property of a French Cistercian monk, it combines sequences like this with pages of text and illustration.

Not a comic book IMHO, but an illuminated manuscript with sequences of text, illustration and sequential narrative.

It's no more a "comic book" than a newspaper is for having text, illustration, and comic strips in it.

IMHO, academic lady.

And here's a look at the Old English Hexateuch (hexateuch refers to the first 6 books of the Bible) which I think is far more visually complex and interesting work, and comes much closer to the illuminated manuscript as comic, but still intersperses large sequences of text and illustration with sequential storytelling sequences. So I don't consider it a comic, but a book with sequential work in it.

Now this work below is a different matter. This is from the Holkham Bible Picture Book, circa about 1330.

This thing is genius. It measures a little larger than a modern comic, around 8"x11", and almost every page of it is like this spread here. 231 pages of beautifully rendered art, with repeated use of banderoles - "speech scrolls"  (basically word balloons) -  and captions, and (mostly) real sequential art. I've never seen anything else that comes even close to it, and by all accounts, neither has anyone else. 

It may not be a modern comic book - but it's a comic book as far as I can tell. I don't think there's any other illuminated manuscript that is as complete, sophisticated, and innovative a sequential storytelling work.

If this were printed and seen by more people, the comic book medium would have taken off centuries earlier, IMHO. But it wasn't. It was tucked away in a monastery somewhere and few people ever saw it. It ended up being forgotten for centuries until it popped up again around 1816 when a banker sold it to an avid book collector, Thomas Coke, Earl of Leicester, who inherited Holkham Hall and its library and set about restoring and expanding it. 

The banker wrote, “a very curious MS. just brought here from the Continent. . . which I think one of the greatest curiosities I ever saw”.

Sequential art got invented over and over and over by one artist after another until one day centuries later, some teenaged boys found their newspaper strips gathered together in a cheap format, and suddenly comic books were popular and like new.

And then a lot of people who didn't seem to realize that books had had pictures in them for centuries got all up in arms about the harms of books with pictures in them.

I think it's funny that it is called the Holkham Bible Picture Book. There really was no "comic" art language when this work was created or when academics began to catalogue this sort of thing. Will they change the name now?

Who can say.

Anyway, another Holkham Bible Picture Book reference for you.

Look familiar?

I referenced it in this scene in Chivalry.

One of the fun things about the Holkham is that it opens with a discussion between a friar who has commissioned the work and the artist. The friar admonishes the artist to do a good job on the project because it will be shown to important people. And the artist responds, "Indeed, I certainly will and, if God lets me live, never will you see another such book."

He wasn't kidding.

You can see the entire manuscript HERE. 

Sponsored by my Patreon. Thank you.

[takerfoxx]

I'm so fucking confused what did the Rock do

It's a very long and complicated tale, but the short version, the Rock recently joined the board of directors for TKO (WWE's parent company) and SEEMINGLY (as we don't know the full behind the scenes story just yet) used his clout to push himself into the Wrestlemania main event, challenging his sort of cousin Roman Reigns for the WWE Universal Championship and pushing aside Cody Rhodes, the guy that was supposed to be Roman's challenger, and thereby sabotaging a two-year story that everyone was invested in right when it was about to see it's conclusion. And people are pissed about it.

That's the short version. Here is the loooooonnnnnggggg version.

WWE has been plagued by a number of issues over the years (not the least being that it's been run by an actual rapist for the last four decades), but the two relevant issues is a tendency to rely on past their prime stars of yesterday at the expense of building new stars for today, and when they do want to build a new star, they have a bad habit of shoving their chosen golden boy down everyone's throat to everyone else's detriment in a nakedly inauthentic manner until the fans get sick of them (see: Ultimate Warrior, John Cena, and, most recently, Roman Reigns, who will become important later). Needless to say, they've had a lot of trouble getting the crowd behind what is known as the White Meat Babyface, or primary good guy.

The Rock started off as the latter, being introduced as Rocky Maivia, who was a wholesome good boy who was just so happy to be here. People saw through it and booed the fuck out of him. In rare case of the WWE actually listening and responding, they turned Rocky heel and let him vent his frustrations at the fans, which let everyone know that, holy shit, this guy is actually insanely charismatic and probably the best trash talker in the business! Thus, the Rock was born.

However, while he certainly earned his accolades during his heyday, his returns since haven't been so universally admired (see previous note about the WWE pushing the stars of yesterday). One instance about ten years ago involves him main eventing Wrestlemania against John Cena over CM Punk, who was the reigning WWE Champion at the time, and was quite annoyed. Okay, the Rock vs. John Cena could be excused on account of being that much of a dream match, but then they had CM Punk end his year long title run to the Rock so he and Cena could main event again, this time with the title on the line. This was one of the many issues that reportedly led to CM Punk walking out a few months later.

Now, let's move away from the Rock for a bit and talk about Roman Reigns, who was another example of the WWE ramming their chosen golden boy down everyone's throat. Like the Rock, he is part of the venerated Anoa'i Family, who are practically wrestling royalty with how many superstars they've produced (though they're not actually related by blood, but that doesn't matter, as those who marry or are adopted in are still considered full members of the clan).

Roman began as part of the massively popular trio known as the Shield, alongside Seth Rollins and Dean Ambrose. And during their two year run, the Shield were kind of incredibly awesome. Three badasses closer than brothers just wrecking a path of destruction against all those who stood in their way, a perfect combination of violence and genuine comradery...right until Seth Rollins betrayed the group and they all became single stars.

Now, despite the WWE having high hopes for all three, Roman was clearly the anointed heir, despite being the least experienced of the three. Unfortunately, they went about this by making him essentially a John Cena clone. Smelling another corporate babyface about to be shoved down their throats, the fans turned on him and turned on him HARD, making him the most loathed face in wrestling for years despite always being treated by the company as a beloved hero. Finally, the decision was made to turn Roman Reigns heel, unleashing his dark side and turning him into the Tribal Chief, a sadistic and manipulative monster who's held an iron grip on the title for literally years. Needless to say, it has been a massive improvement, and he is now quite awesome (though people are sick of how long he's been champion, but that's neither here nor there).

Anyway, heel Roman has been champion for basically forever at this point, and it's been a question of who will eventually be the one to dethrone him, because whoever it is automatically becomes the biggest star in the business. And given what an accomplishment that is, there really can be no place it can happen other than the main event of Wrestlemania.

Enter Cody Rhodes.

Like Roman and the Rock, Cody also comes from a prestigious wrestling family. Cody is the son of the late, great Dusty Rhodes, the American Dream. And this pedigree has weighed heavily on him, both in and out of storyline.

Now, unlike his plain-looking and tubby father, Cody looks like he was grown in a lab to become the perfect WWE wrestler. Movie star looks, an absolutely ripped body, and physical charisma for days. Despite this, his first WWE run didn't go how he wanted. While he saw a fair amount of success, he never seemed to break out of the midcard and was eventually saddled with the loathed Stardust gimmick, which he absolutely hated, and after realizing that things weren't going to change, he decided to bet on himself and leave the WWE to prove everyone wrong.

This ended up working beyond anyone's wildest dreams.

To say that Cody was successful post WWE would be a gross understatement. Rebranding himself as the American Nightmare, Cody became the opposite of everything his father was, dressing in snappy suits and carrying himself in an arrogant, sadistic manner. He worked for a number of places, from TNA to Ring of Honor to New Japan, and saw massive success, winning multiple titles across multiple promotions and building himself as a force to be reckoned with. He was also the impetus for the historically significant All In event, in which a number of wrestlers from a number of different promotions banded together to put on the first non-WWE show to have over ten thousand people in attendance in over twenty years, which eventually led to the creation of AEW, which Cody was an intrinsic part of as well. Needless to say, Cody was cooking.

Unfortunately, his own way of doing things didn't mesh well with the AEW audience, and they turned on him pretty hard after a year or two. Eventually he left to return to the WWE, and a lot of people questioned if he was making a mistake, given how he was treated the last time.

However, his gamble had paid off. His worth had been proved, and now WWE was all in (pun intended) on Cody Rhodes. In contrast to the volatile AEW crowd, the WWE fans welcomed the prodigal son back with open arms. And surprising all cynics (including myself), this love continued strong even after the novelty of Cody Rhodes back wore off, probably bolstered by how carefully his storylines were plotted, some truly killer performances in the ring, and the respect garner by him being an absolutely fucking champ and wrestling Seth Rollins in a Hell in a Cell match despite having a horribly torn pec.

Finally, the WWE had a White Meat babyface that the fans universally accepted and wanted to see more of, and they were going to capitalize. He won the Royal Rumble to rapturous applause and entered in a program with Roman Reigns to challenge him for his title at Wrestlemania. And unlike other challengers, he actually seemed like a credible threat. Much was made about how his father had also challenged for the same title but could never capture it, so he wanted to do what his father couldn't and finish the story. People were behind Cody all the way, and the time seemed right for Roman to finally fall and a new top star to be crowned.

And then Cody lost. Roman cheated, and Cody lost.

Needless to say, people were pissed. However, others said that maybe this was leading to a rematch at the following year's Wrestlemania, making his eventual victory all the sweeter. Certainly, WWE still seemed behind Cody, as he spent the next year in several high profile feuds that kept him looking strong, including going over Brock Lesnar of all people. And again, the fans remained behind him, when in past cases they would have turned on the guy by now. Believe me, this hadn't happened in a very long time.

But not all was well. There were rumbles that the Rock might be queuing up for a return one of these days, possibly to finally face Roman Reigns in another dream match to settle who the true Tribal Chief of the Anoa's family. People had been wanting that match for years, but for it to happen now, upsetting Cody's chance to finally finish his story? Well, that was the worst possible time. However, these rumors seemed to be nothing more than that. Just rumors.

And then CM Punk came back.

Now, Punk is a whole can of worms all in himself, and could easily fill a full post of his own. But the important thing is that he and Cody are very much dark reflections of each other, especially in how both were screwed over by WWE during their first runs, left under dark circumstances, and returned to the fans' adoration. And they both coveted that Wrestlemania main event.

In fact, during an awesome promo battle between the two, Punk specifically pointed out that he intended to do to Cody what the Rock had done to him ten years ago: be that bigger star who came back after not being around for a long time and take that Wrestlemania main event away. And sure enough, during the Royal Rumble, the final two in the ring were CM Punk and Cody Rhodes.

And Cody won. The first man in years to win back to back Rumbles. He singled out Roman Reigns as his target, cementing their Wrestlemania rematch. As for Punk, he had a main event of his own, as he was apparently scheduled to face Seth Rollins for the World Heavyweight Title at night 1 of Wrestlemania. It seemed that both of the prodigal sons were getting their wish!

And then CM Punk got hurt really bad and had to pull out of Wrestlemania.

Well, that sucks, but it shouldn't upset plans too badly. Seth could just wrestle someone else, and Cody's two year story could proceed like everyone wanted.

Well, we all know what happened next.

Yup. It happened. The Rock, likely with the backing of his new position on the TKO's board, had pushed himself into Cody's spot, while Cody (as it appears) will be replacing Punk to take on Seth Rollins instead. A two year story, flushed down the drain. Punk's words had turned out to be prophetic.

And while the fans were cheering in that video, once the buzz had worn off and people realized what had happened, that's when things got nasty. Over the last few days, people have turned on the Rock and turned on him HARD. Rocky sucks chants fill WWE events, #wewantcody trends for days, videos of the Rock get booed, and (unfortunately) even members of his family have gotten caught in the crossfire. People are NOT happy about this direction. Cody is their guy, and right when his story was going to be completed, right when Roman was going to be dethroned by the guy that everyone wanted to see beat him, this happens.

Plus, since then reports have been swirling that this decision was made by the TKO board, not WWE, with the Rock specifically pushing for it to "Save Wrestlemania." Which hasn't exactly warmed people to the idea.

Which is really funny, because the last time Roman Reigns and the Rock shared a ring together, it was in the middle of Roman's disastrous babyface run where the fans hated him, especially in Philadelphia, a city noted for its rebellious fans, and the WWE sent the Rock out to help Roman in hopes of changing their minds.

It didn't work.

And where is Wrestlemania this year? Oh right, Philadelphia.

This is going to be...interesting, to say the least.

[likeabxrdinflight]

I want to talk more about the way the characters have been adapted for the live action adaptation, because character writing is the thing I care about the most and as a psychologist it's probably the aspect of any story that I'm most invested in. I can get around pretty much any plot contrivance or weird maguffin or even shitty pacing if the characters of a story are engaging enough. This is my bread and butter, so to speak.

And I want to start with Iroh, because I think he is by far the best adapted character from the original. But I suspect I think this for different reasons than other people might, because the beloved Saint Iroh from the animated show this man is not.

See the thing with animated Iroh is that he's just...a bit too perfect. We know he's been complicit in the war in the past. We know he laid siege to Ba Sing Se, we know he had a complicated past. But we never really see it, we only barely hear about it, and more often than not there are other aspects of Iroh's past that serve to further deify him. He was a general in the war, but then he goes on to protect the last dragons and learn the true meaning of firebending. He led a 600-day siege and lost his son but he came out of that experience Enlightened, having journeyed to and from the spirit world. He joins up with the White Lotus (at some point) and becomes the wise old sage we know and love.

Except most of that is revealed in later seasons and is inconsistent with his actions alongside Zuko in season one. Season one animated Iroh is kind of a passive character, largely existing for comic relief and as a support to Zuko. But there's very little to suggest he's disloyal to the Fire Nation or their cause. He says it himself- "I'm no traitor, Zhao!" Now you can certainly interpret that line in several different ways, but I suppose that's the point- there's a lot left up to interpretation with animated Iroh. We get a sense of who he is in relation to Zuko, but his own development largely happens off-screen. And because to Zuko he's a wise, caring uncle and mentor, that's largely how we, the audience, see Iroh. We love him because Zuko loves him. And that's fine for what it is, and clearly it was effective- Uncle Iroh is almost universally beloved. But it does leave a lot of questions about him up in the air.

Live action Iroh is a very different character. This Iroh is a deeply broken man who was been profoundly impacted by the war and what he has lost because of it. I do not get the sense that the loss of Lu Ten has led to any spiritual enlightenment for this Iroh- there's no indication that he can see spirits, for example, or that he has ever traveled to the spirit world himself (he does still oppose the killing the moon thing, though.)

Right out the gate, we get the sense that this Iroh has lost faith in what the Fire Nation is trying to achieve with the war. He explains to Aang fairly early on what the Fire Nation's goal and perspective is, and can rattle off this dogma quite easily. But when questioned by Aang if these beliefs are also his beliefs, he dodges them rather un-deftly. So you know immediately that this Iroh doesn't really support the war. Later you see him somewhat bluntly telling Zuko that the throne may not be all it's cracked up to be, and he's fairly openly critical of Ozai in other moments. So you know from the jump that Iroh's not really on Team Fire Nation.

And yet this is also not a truly repentant man. When he is captured in Omashu, Iroh gets another brief scene with Aang while they are both imprisoned there (this is before Aang meets with Bumi). And in this scene, Aang tries to convince Iroh to help Zuko stop being The Bad Guy. And Iroh defends Zuko to Aang and stresses the point that it is not Zuko who owes him any great debt, but he who owes Zuko. Later, when he is confronted (and hit several times) by an Earth Kingdom soldier who lost his brother during the siege, Iroh does not apologize. He does not flinch at the man's accusations, nor does he deny them. He defends himself, albeit weakly, by stating he was a soldier, and it was a war. He has the audacity to accuse this soldier (somewhat obliquely) of having been made dishonorable by the effects of war. It's kinda messed up, honestly.

But then this man accuses Iroh of knowing nothing of loss. He leaves the shot, and we saw Iroh's face just crumble, and the scene cuts directly to Lu Ten's funeral, where Zuko chooses to sit with his uncle and support him through what must have been the darkest moment of his life. Back in the present, it is only later, after Zuko has come to rescue Iroh, that he speaks more honestly to the Earth Kingdom soldier- he shows mercy and states that they've all "seen enough death."

So what we have here is an Iroh who is deeply disenchanted by the war and does not support it or the goals of the Fire Nation, but who has continued to stand alongside Zuko and support him in his goals. We have a man who doesn't necessarily regret his actions as a soldier in the war but who very much does regret what those actions have cost. We see a man who is profoundly impacted by loss and grief and has become emotionally reliant on his nephew as a source of support. Not that he's parentifying Zuko or anything, he's very much not, but he is rather obviously channeling all the love he once felt for his son into Zuko instead. Zuko is his lifeline, he needs Zuko and you get the sense that without him, Iroh would truly fall apart. I mean the man is on the verge of tears more often than not when Zuko is in even the slightest bit of danger in a way that animated Iroh was not.

This is what I think is different here. Animated Iroh seemed to turn against the war because it was morally wrong, it had thrown the world out of balance, and imperialism is bad. Live action Iroh seems against the war because it wasn't worth it. It wasn't worth the cost, or the death, or the grief. He couldn't see that until he lost Lu Ten, but now he sees it everywhere. I get the sense that this Iroh just wants it all to stop, and I'm not sure he cares how that happens.

The White Lotus is definitely hinted at, but I suspect that was his motivation for joining it. It's not about restoring balance to the world for this Iroh. It's about restoring peace, so that he won't have to lose Zuko like he lost Lu Ten. So that the death and destruction stops. So he can just live a quiet life and put the past behind him.

It's a different take. And it's not that he doesn't still have a lot of wisdom to him, that he's not still a gentle, caring person. But he's a much sadder person, and he's lost that sense of "enlightenment" that his animated counterpart had. There's a selfishness you can read into to this version of his character that's much more apparent than the animated version.

I think a lot of people are gonna hate this, because it's a darker take on a much loved character. But I love it. This Iroh is human, this Iroh is flawed, and this Iroh has a lot more growing left to do. And that's awesome. If we get to actually see more of a character arc for him too, if we get to see him also growing and changing alongside Zuko? Please. It's not like he needs a total redemption arc, per se, but if in his journey with Zuko throughout the Earth Kingdom we can see Iroh gain some of his fortitude back, we can see when he decides he needs to push Zuko down a certain path, to take a side in the war, to see that it's not just the death and destruction that makes it wrong? God there's so much potential with that.

Now, maybe this isn't what will happen with seasons two and three. Maybe they'll back track and try to make him more similar to the animated version. I don't know. But for now? Live action Iroh is fantastic, and Paul Sun-Hyung Lee is giving a hell of a performance. He's warm and tender when he needs to be, fierce when he has to, and just profoundly sad throughout it all. And I love him so much more for that.

I'll be controversial here and say it. So far, live action Iroh is a better character than animated Iroh.

[what-even-is-thiss]

european here (genuinely curious): in reference to your “american home-cooked food isn’t just fast food, it’s a lot like french/italian food” post, could you give some examples? I don’t know what foods are american home staples, but your post piqued my interest

Well stews and soups for one. When I read recipes for stuff like beef bourguignon it’s quite familiar to me. Less wine perhaps but the principles of the dish are similar.

Italian-American food often also makes for easy quick food on weeknights. Pasta is something that can be just as easy or complicated as you want. You can make it from scratch at every step or just make sauce from canned ingredients and boxed pasta. Tomato paste, flour, pasta, and dried herbs are staples in most kitchens. Pretty much every household has their own way of making pasta sauces.

Roasts are popular during the winter. Both roasted veggies and roasted meat. Potatoes are popular year round but in the summer things like potato salad or fries or bagged chips are more common than stewed, mashed, or boiled potatoes.

Americans commonly cook with butter and olive oil, though canola oil is cheaper. In recent years though there’s been health questions about canola oil and some people only use it for deep frying now.

French cream sauces are pretty similar to American white gravy which we make with cream instead of milk. We do also make white sauce too and will put it on most things. I find it especially good on pizza instead of red sauce. A lot of people also put it on pasta or vegetables.

A lot of the way we eat potatoes is pretty similar to some French dishes. What we call scalloped potatoes is very similar to a French dish called potatoes au gratin. Not identical, but extremely similar.

Stuff like French onion soup and duck a l’orange is also decently popular here even if not everyday food and are things you’d more commonly make yourself than buy from a restaraunt.

French style breads and pastries are also quite popular here. Baguettes are common things to cut up to eat with dip. Croissants with coffee are common things to eat for a small breakfast or an afternoon snack. French style breads both sweet and not are also common breads used for sandwiches. Italian style coffee is also more and more popular these days but that wasn’t true until relatively recently.

A lot of similarities really lie in the ingredients we use. We often cook things in butter for example. Or add flour to stews to thicken them. Or add milk to things. Or use wine to deglaze pans for the flavor.

A lot of home cooking in the US is affected by other immigrant populations. Tacos or curry are staples in my diet for example. But when you get down to more traditional comfort food it’s potatoes, cream sauces, stews, herbs, roasts, and pasta. Stuff that’s not identical to French or Italian cooking but is very heavily influenced by it.

TLDR: It’s butter!

[mspaesthetic]

Tidbit: The "Threshold" Effect of Desaturated Objects Due to Increased Contrast

If you've ever asked how to replicate an effect like this...

...it's likely someone told you to apply the threshold filter, which converts any light colors to pure white, and any dark colors to pure black. And it's perfectly fine to do so. It's simple, straightforward, efficient. But I take issue with the assertion that it's definitively the only conceivable way Hussie did it when the evidence points to the contrary. Scrutinize the following examples under a microscope:

Did you see it? The singular detail that distinguishes these images from ones that have been thresholded? Congratulations if you noticed that these contain not only black and white pixels, but GRAY pixels as well! A threshold filter's conversion is binary; a pixel is either black, or it is white. No in-between. The presence of these gray values rules out its use, then.

One thing is clear, at least: these images are black and white in the traditional sense of the term, i.e. "grayscale", even if it's in drastic form. They've been stripped of any color, hue, chroma. Completely desaturated, in other words.

So from this observation, we can reason that they were converted to be grayscale at some point in the process of editing.

Of course, this is still lacking in the pure black and pure white departments. If only there was a way to adjust the intensity levels and push them both to their extremes... oh wait, THERE IS! Using the Levels adjustment tool!

Pushing the black input levels slider to the right makes all dark colors turn darker, and conversely, pushing the white input levels slider to the left makes any light colors turn lighter. This is a great way of increasing the contrast and adjusting the brightness. Speaking of which, the Brightness/Contrast adjustment tool in Photoshop with "Use Legacy" enabled also accomplishes a nearly identical effect.

This timelapse demonstrates how the Brightness/Contrast adjustment is basically equivalent to using the Levels one when used this way

I say nearly identical because raising the contrast all the way to 100% with Brightness/Contrast makes it actually identical with the Threshold adjustment tool. The black and white input levels sliders can't fully join in the middle because of the gray input level slider occupying the space, hence why there are some stray gray pixels even when pushing them to their limits.

Well, there could be several reasons explaining why there could be gray pixels other than the contrast not being high enough to clip them, but I'll spare you another needlessly complicated and overly technical rambling on how I can tell it's most definitely the Levels adjustment tool always.

This post is getting a little long, so I'll stop here and elaborate a little more on pertinent things under the read more link, like semi-opaque pixels, scaling down, sharpening, and the gamma slider. Also here's the potted plant PSD if you wanna check it out I guess.

ADDENDUM

Semi-opaque pixels

When separating objects from a background, it's usually easiest to do so with a magic wand selection tool, which selects regions of similar colors. There's an option to make the selection anti-aliased, smoothing the edges of whatever you've cropped. Unchecking it will make the pixels hard and jagged. The wine bottle and picnic basket are a good example of each, respectively.

If you've already cropped out something with anti-aliasing enabled, there's still a way to sharpen the edges after the fact. Duplicating the layer multiple times will increase the semi-transparent pixels' opacity. Do it enough times and they'll eventually become completely opaque. An analogy would be stacking multiple panes of tinted glass on top of each other. Stack enough of them and you wouldn't be able to see through anymore.

These semi-opaque black pixels would appear gray on a white background, and so would semi-opaque white pixels on a black one. That's the reason for the gray pixels around the edges on some of these examples.

Scaling down/Sharpening

Suppose you've already gone ahead and went through the whole rigamarole of editing the object to be black and white before deciding firmly on the size of it in your composition, and now you think it could be a little smaller. You could always resize it and scale it down, but with the interpolation method set to none/nearest-neighbor, it's going to look kind of shit, and with it set to something else like bilinear or bicubic, the anti-aliasing is going to make it a bit blurry (introducing these gray values). You could increase the contrast again, or you could use the Sharpen filter to do it.

Not to suggest that this particular example was scaled down after editing, it's just the one that looks closest to it since I'm too lazy to make one.

Sharpening repeatedly will bump up the contrast, plus Photoshop's Sharpen filter has the added benefit of hardening any semi-opaque pixels as well, making the edges sharper.

GIMP's Sharpen filter doesn't do that latter part, unfortunately, but if the layer has an opaque white background, it'll do the same.

Gamma slider

This effect might not be so obvious, but really take a good look at these board games:

Actually, maybe this Problem Sleuth bonus panel shows what I mean better:

The dark values are cranked up very high, and so are the light values a bit, but there's an inordinate amount of midrange values that are on the lighter side than what would be normal. That's because of the midtones input levels slider, the gray slider, the gamma slider, whatever.

I'm toot tired to explain any more than that, so make of that what you will. The end.

[wheelsgoroundincircles]

1969 Shelby Mustang GT500 Fastback

1969 was, effectively, the final year for the Shelby Mustang. By now assembly had shifted in Michigan from California where it was contracted out to A.O. Smith Corporation. Smith, an established Motor City contractor, had brought a level of serious manufacturing skill, supplier management, procedure and standards never seen at Shelby’s facility where LAX met the vibrant (and sometimes extreme) subculture of Venice, California.

Now largely designed and specified by Ford staffers, the 1969 Shelby Mustang was drastically different visually from the standard Mustangs, with a completely different nose and grille, a wide rectangular opening with blacked out grille flanked by 7” headlights and with Shelby’s characteristic driving lights now smaller rectangular pieces below the attractive, but largely ineffective, bumper. The special Shelby hood had five ducts, three NACA-style surface ducts replaced the complicated but entertaining shaker hoods of years gone by to supply cold air directly to the engine air intake and two extractors at the back of the hood relieving underhood pressure and exhausting heated air in front of the windshield.

A surface duct behind the headlights and a scoop behind the door and in front of the rear wheel arch that was ducted to the rear brakes continued the performance theme. The rear panel was completely different from the Mustang, housing a set of 1965 Thunderbird sequential taillights with the rear license plate placed between them and including a small ducktail spoiler. The area under the bumper where standard Mustangs carried their license plate contained two rectangular outlets for the Shelby’s dual exhaust system. Standard wheels were unique 5-spoke Mag Stars with alloy centers and chrome steel rims.

Under the hood lay the 428 Cobra Jet which had powered the ’68 Shelby GT500KR. Both Ford and Shelby recognized the superiority of the high performance CJ and made it the standard engine for 1969’s Shelby Mustangs. 

At the end of the 1969 model year 789 Shelby Mustangs were in-process at A.O. Smith. They were visually updated with black hood stripes and a chin spoiler and given new VINs. Otherwise the 1970s were exactly the same as the ‘69s making these two years essentially identical examples of the end of the Shelby Mustang series which had begun only a scant six years before.

Avidly sought by collectors and obsessively documented by the Shelby American Automobile Club, most Shelby Mustangs are well known and have well known histories. Occasionally, however, a example appears which has been out of sight for years. Even more rarely it turns out to have been little used and continuously maintained by a thoughtful and caring single owner for nearly forty years.

The Black Jade 1969 Shelby Mustang GT500 Sportsroof fastback offered here is one of those rare and highly desirable cars. It was delivered new to Ford’s dealer in Yokohama, Japan, Marubeni Motors K.K., and was sold thereafter to its first, and only, owner in Japan. It has been repainted in the original color once but is otherwise completely original, as delivered and has only 84,941km on its metric-calibrated export speedometer (52,779 miles.) Its sympathetic maintenance and care shows throughout in its clean, straight, rust-free condition.

Power of course comes from the 428 cubic inch Cobra Jet Ram Air V-8 engine which Ford and Shelby conservatively rated at 335 horsepower at 5,200rpm and a gut-wrenching 440 lb-ft torque at 3,400rpm. It puts the power through Ford’s highly regarded C-6 automatic transmission and Traction-Lok differential with high speed 3.00:1 gearing that takes full advantage of the CJ engine’s torque. In addition to the highly desirable drivetrain specification it is loaded with options including the Visibility Group, Goodyear white letter tires, Sport Deck folding rear seat, power front disc brakes, power steering, tilt steering column, Selectaire air conditioning, AM/8-track stereo radio, tinted glass, deluxe belts, tachometer and trip odometer.

It is finished in one of the Shelby Mustang’s most attractive colors, Black Jade. The interior and high back buckets seats are upholstered in black Clarion Knit/Corinthian vinyl that complements with Black Jade exterior.

It returned to the U.S. in 2006 but has never been titled by its current owner so it remains a one-owner car. Its absolutely clear history, one-owner provenance, highly original condition with known mileage and extensive options list are attributes shared by few Shelby Mustangs of this age. This is a rare opportunity for an astute collector to acquire a particularly significant, unmolested Shelby Mustang from the last, and most highly developed, series.

1969 Shelby Mustang GT500 Fastback

Powered by a 428ci V8 engine mated to a C6 automatic transmission, this beauty includes the original #Shelby owner card, a copy of the Shelby work order and Window Sticker.

1969 Shelby Mustang GT500 Fastback

1969 Shelby Mustang GT500 Fastback

[thishazbinamistake]

Howdy!

I am here to talk about Viv's horrible character designs.

From an animator perspective, they suck.

Here's why

1. The characters have way too much detail

For animation, more lines equal more work. You're going to be drawing them over and over, and it just creates more stress and work for the animators.

For example, I took one of the most egregious designs in HB (Beelzebub) and simplified it to be animation friendly.

(Can't send it here but I'll probably make a post about it or something.)

2. There's too much of 1 color

WHY IS THERE SO MUCH RED??

Especially since they're in a primarily red background, they don't stand out AT ALL.

Like how am I supposed to see them if they blend in to the background??

3. I have no idea what half of them are supposed to be

Charlie is based off a doll?

Alastor is based off of a deer?

Katie Killjoy is based off of a praying mantis?

Angel Dust is based off of a spider?

Beelzebub is supposed to be well... Beelzebub?

When designing characters, they need to be clear on what they're supposed to be! And no, explaining it on Twitter does not count.

4. The animation reference sheets are garbage

No wonder there's so much animation errors. There's no facial expression sheets, lip sync guide, nothing. It's just a 4 angle turnaround sheet where the character is in complex poses all the time.

If you Google Lackadaisy's animation reference sheets and then look at HB's, it's like night and day.

I'm more than willing to send some examples (along with the edit I did) if you want

So yeah, what are your thoughts?

These are all great points! I think you summed up the main problems very well, but I'll elaborate on each of them. I'm no expert at character design or animation by any means, but I'll do my best to explain my points!

First of all, like you said, the character designs are way too complicated. Anyone who knows even the slightest amount about animation knows you want to simplify and streamline your designs as much as possible to make it easier on the animators. Vivzie is way too obsessed with her Deviantart OC lookin'-ass character designs to actually do this, even though it would seriously help to make the animation process way faster and easier. Beelzebub is seriously the best (or worst?) example of this.

I feel so bad for the poor souls who had to animate this. There are just way too many moving parts here, from her multiple arms, her wings, her markings, to her freaking lava lamp hair and tail?? It's just awful. And so many of Viv's designs suffer this problem, I could go on and on.

Like, I think it actually is a nice looking design, as a still image. Maybe not for the demon Beelzebub, but as a general furry OC, I think she's cute. But that's beside the point. I would love to see your redesign of her!

Next, the RED. So, most of the characters we see in Helluva Boss are red-skinned imps, which has been a common depiction of demons for centuries. One big problem I have is that there's little contrast in these designs. Let's look at our three main imps.

Aside from some white and yellow highlights, they're all mostly red and black. Their color palettes aren't distinct in the slightest! And, I mean, come on. Red accessories against what's almost the exact same shade of red skin? Really? It just doesn't look good. A little contrast here and there goes a long way, like... maybe make Moxxie's bowtie blue? Or Blitz's pendant green? I don't know, anything to help each character stand out, and help give them more visual intrigue.

It doesn't help that most of the backgrounds are primarily shades of red, too. Here's a few screenshots I found that really show this problem.

Look at all that fucking red. Like you said, there's such little color variation that the characters blend into the background. Now, to be fair, I did specifically choose these screenshots because I think they really highlight the problem, but this really is what so much of the show looks like. Granted, we do have a bit more variety in the different rings of Hell, each with their own main color, but this is still too much red, considering how much the color comprises the main characters' designs.

Next, like you said, Vivzie is really bad at making characters actually look like the things they're supposed to look like. Let's take Alastor as an example!

Oh boy! More red and black. So, Alastor here is supposed to be a deer. What's the first physical characteristic that comes to mind when you think of a deer?

Yeah, those big, impressive antlers! So... where are his? Oh, they're those tiny little forks on his head that are almost entirely obscured by his stupid emo hair. Like, come on! Giving him bigger antlers would have made him look so much cooler and more intimidating, and it would have been a great focal point for his design! It's such a missed opportunity. (I know he has bigger antlers in his scarier "demon" form, but you still could have made these a little more impressive.) And don't even get me started on those ears... they look more like fox ears or something. Like you said, a good design shouldn't need to be explained through supplementary material. We should be able to tell what a character is supposed to be just from looking at them!

Another great example is Angel Dust, who, despite being a spider, lacks so many distinct features we associate with spiders! He only has six legs instead of eight, he doesn't have pedipalps or chelicerae, and he also lacks that big old spider booty, which I think is such a missed opportunity, considering he is supposed to be in the sex industry. He isn't even remotely shaped like a spider, he looks more like a fuzzy stick bug or something.

Part of me feels like Viv is too afraid to make her characters look unique, so she just goes with the same, skinny humanoid design for just about everything. It's such a shame, because I really do think she is a talented artist who can make some really interesting designs. But then again, she also gave us Beelzebub, so... maybe not.

As for the reference sheets, maybe I wasn't looking hard enough but I couldn't find any official ones for the main characters, so if you could send those my way I would appreciate it! Though it honestly wouldn't surprise me if they were bad. I did look up Lackadaisy's and found them pretty easily and...

This is so freaking comprehensive and detailed, it's incredible! Look at all those poses and facial expressions!

Comparing Vivzie's works to Tracy's feels kind of unfair, since Tracy has been working on Lackadaisy for 17 years, and it really shows. This is leaps and bounds above Helluva Boss and Hazbin Hotel in quality. Rocky's design is tight; it's detailed, but not overly complicated. There isn't an obnoxious overuse of highly saturated colors, and there's such nice contrast between his fur, his eyes, suit, and tie, making his design very nice to look at. You can also tell so much about his personality and the world he lives in just from his appearance. It's such a good design, and Rocky is just one example from Lackadaisy! All of Tracy's designs are memorable and stand out from one another, unlike so many of Vivzie's characters, whose designs honestly feel interchangable.

So much thought and care has gone into Lackadaisy, and I seriously cannot wait for the full series, as well as all the other amazing indie animated series that have been coming out recently. It's sad that Helluva Boss is seen as the pinnacle of indie animation, when there are so many other series out there that are just.. better! Lackadaisy, obviously, but we've also got Digital Circus, Murder Drones, Monkey Wrench, and so many others that deserve way more appreciation than what Helluva Boss receives. And that's just from an art direction standpoint, we aren't even talking about writing. That's a whole other can of worms.

All of that being said, it's obvious that a ton of love and hard work went into Helluva Boss, and I hold absolutely nothing against the animators and artists at Spindlehorse. These poor design choices are a hallmark of Vivzie's art style, and they're simply working with what they've got. There is such wasted potential here because it feels like Vivzie is too afraid to step outside her comfort zone and design something that isn't a brightly colored, sharp-toothed twink, or skinny anthro wolf girl.

Anyways, that about wraps up my thoughts. Thanks for the ask, this was fun to delve into! And again, I'd be very interested in seeing you post your redesigns! 👀

[olderthannetfic]

I think you've talked before about how it's wrong to assume the only people who enjoy taboo kink like race play are bigoted white people, right? Tumblr's search remains garbage. I've been trying to formulate some thoughts on it after seeing some videos on "bad books" but I don't really know enough about real world kink culture to know what's valid critique of racism or anti-kink just hiding behind it. So I remembered you'd mentioned the topic at some point and might have some thoughts?

--

Well, first, one should apply basic logic: If shittons of women kink on the ways in which society abuses women, why wouldn't at least some ethnic minorities kink on the way society abuses them?

Second, social media overflows with jackasses saying "Listen to POC" as a thought-terminating cliche, but it's good advice as long as you grasp that you do have to evaluate which people you're listening to and what basis you have for trusting that they know something about a subject.

Honestly, I don't think this topic is that complicated. There are just a lot of cowardly white people around who are too scared of ever being seen as wrong to be willing to do a little research or stand up for anything even remotely controversial. They'll parrot the first anti they run across but not bother to engage with the comments of nonwhite kinksters who are long-time community members with informed opinions.

The person I'd listen to, personally, is Mollena Williams-Haas, a kink educator and submissive. She has talked about race play here, among many other places.

Her comments boil down to it being about consent. If kinksters want to play with a concept and everyone involved is on the same page, it's not the business of outsiders to tell them it's off limits.

Playing with heavy topics in an agreed upon way is completely different from having that thing sprung on you without warning. We're used to making this distinction when people are playing with the trappings of rape but, somehow, lose our goddamn minds when the topic is racism.

Now, yes, there are plenty of gross white creeps who think nonwhite kinksters will inherently be interested in this sort of thing and should cater to them... but how is that any different from your usual pest in a bar chatting up uninterested parties and refusing to take no for an answer? The problem isn't squicky kinks that many of us don't want to hear about: The problem is jackasses treating others as a fantasy and/or kink dispenser instead of a person with feelings and needs.

Frankly, most of the arguments against this sort of kink are your usual "As a woman, you should be setting a good example!" bilge that's leveled at all submissive women but on steroids because a woman of color is extra, extra, extra responsible for living her whole life as An Example. (And I notice that it's generally submissive nonwhite women who come in for the most abuse even though plenty of other dynamics exist. Quelle surprise.) It's bullshit. People should mind their own damn business.

As for "bad books"... Are we talking bodice rippers with nonwhite heroines or what? Are we back to colonizer romance wank? Books about characters engaging in race play in a BDSM context? I think it's reasonable to critique books that don't seem to know what they're doing—e.g. not seeming aware that a rape scene is one—but stupid to worry about iddy trash that is trying to be iddy trash. People will always like socially unacceptable id fodder. Some books will always cater to that.