#i continue to just not talk about it but sometimes i just need to post little pictures of them

[cassi-pokeblogging-hub]

Saying No

Okay so a conversation in a discord server inspired me to make this.

You guys can say no to things. You do not always have to "Yes And" everything that comes to you.

Like. Usually when we talk about rping, we talk about saying yes and. continuing on the scene, not shutting interaction down. We're pretty lucky with how this rp stuff works where in character denying and saying no CAN work a lot better than in standard improv without fully stopping the scene and kinda shutting it down, but that's not what I'm talking about.

I've seen a lot of people who kinda. Accidentally start god modding or kinda burst their way into plotlines without asking and like. This is public rp! Anyone can join! But there is a certain degree where you gotta stop first and ask or just not say it.

But sometimes people do not think first and just do. Maybe sending a magic anon that solves all of your oc's problems. Maybe they have dimension hopping powers and are like "Don't worry! I've come to your reality and I can help you get away from your problems instantly!", maybe your character really wants a mega stone and you have plans to have a whole thing about them working to get this mega stone and learning to mega evolving their partner and then someone mystery gifts or pelipper mails the item to you immediatly.

You don't have to "Yes, and" that. You can just say "No, you didn't do that". You are allowed to say no when someone crosses your boundaries and is affecting your plot.

Is someone trying to involve you in their plot without asking? "That is not happening in my character's universe" Is someone trying to say they're just there at a crucial event with your character when they never asked? "Your character is not able to be there. Please delete that post".

Yes And only goes so far. There is a time and a place where you will need to say No, and that is just as important to RP as going with the flow! If someone's fucking with your plot, its your job to tell them to stop. People can get involved, sure, but sometimes people try and get way more involved than what you're comfortable and its okay to tell them to back off.

I've also seen people feel that stuff like Muse Mixup Madness or Pelipper Mail are mandatory things they HAVE to do? You don't! You don't need to do anything even if others are! So I guess this is your reminder that you can ignore pelipper mail and magic anons and just asks in general that you dont like! you can turn pelipper mail and magic anons off completely! you can ignore peoples replies to your posts if they fuck with what you have going on. you can tell people they did not do things that would fuck with your characters and story. you can just not do muse mixup madness when it rolls around. you can just not do follower special events. you don't have to participate in anything you dont want, and you dont have to allow people to do whatever even if it makes you uncomfortable.

Other people can do what they want, but you have a right to say no when they try to involve you.

[jasontoddproblems]

Pinstripes (1)

[Jason Todd x Reader]

Word Count: 2906

Summary: You take the leap and decide to introduce Jason to your new boyfriend.

A/N: No one has ever been more normal than Jason Todd. He's fine. He's totally fine. Stop looking at him.

Your apartment was still a chaotic whirlwind when Jason arrived, several dresses draped over the back of the couch, your usual purse contents emptied out on the coffee table next to an assortment of tiny, fashionable clutches. You barely took the time to open the door before fleeing back to your bedroom, your chosen dress for the evening technically on but still unzipped. 

“Hello to you too,” Jason called, trailing after you with much slower steps. 

“Hi, hello, how are ya?” you mumbled, shoving various makeup products back into a small floral bag. 

“I’m fine. You don’t seem to be, though. Wanna talk about it?” He dropped down on the edge of your bed, unbuttoning his suit jacket in the process. 

That seemed to catch your attention, and you spun quickly to face him.

“Yes. Tonight’s a big deal. You know that, right?”

Jason raised a brow.

“It’s just another Wayne Foundation gala. You’ve been to dozens of them. You’ve planned dozens of them. It’s your job, and you’re damn good at it.”

Despite the kind words, your lips fell into a frown.

“That’s not what I meant, and you know it.”

He did know it, unfortunately. Because what you actually meant is that you were introducing your fancy new boyfriend to Jason tonight. Your New York new money, Gotham transplant, up and comer in the Gotham DA’s office with irritatingly private social media accounts boyfriend. 

“What are you so worried about? Help me understand,” he said patiently, trying to ignore the twist in his stomach that felt suspiciously like dread. It had no right to be dread. Jason wasn’t scared of shit. Certainly not a 30-year-old man with an overly-gelled comb over. 

“I haven’t ever introduced anyone to you before,” you said, nibbling on your bottom lip. “I feel… weird about it.” 

“This was your idea. If you’ve changed your mind, I’ll just drop you off and go home. You can tell him I’m sick or something.” 

Because honestly, Jason wasn’t looking forward to this either. You were right. You’d never introduced anyone to him in the almost ten years you’d been friends. You’d dated here and there, but never anything serious enough that you bothered with… all this. And Jason didn’t love the fact that you were bothering with it now.

“No, no. I need to stop putting it off. It’s important,” you said, sitting beside him. “I’m just… nervous.”

“I can see that,” he whispered, gesturing around at the disaster zone that was your room and earning an elbow to the ribs in the process.

“Just be nice,” you pleaded, moving to stand in front of him, hands coming to rest on his shoulders. 

“I will.”

“Jason.”

“I will!” he repeated with a laugh.

You still didn’t look convinced, eyes slightly narrowed and a cute little pout on your lips. 

“I’m serious. Please. I know how you can get.”

“Okay, what does that mean?” 

“You can be a little… quick to judge.” You hurried to continue when you recognized the flash of hurt in his eyes. “Not me! And not even most people. But like… when you see someone doing something you don’t approve of, you kind of…. Have a hard time letting that go sometimes.” 

“Because you let it go too quickly,” Jason said, brief memories of your past relationships passing through his head like a very convincing powerpoint. “I balance you out.” 

There was the one who stood you up and didn’t call you until the next day to apologize, rattling off excuses that all could have been easily communicated while they were happening. Jason had refused to call him anything other than Ghost Boy for the remainder of your relationship.

Then there was the one who documented his every movement on social media to an alarming degree, always taking pictures when the two of you were together and posting them with cringey, coy captions that had made Jason roll his eyes so hard they hurt a little bit afterwards. He’d named him The Tourist.

And there was no forgetting Small Dick Energy 1, 2, 3, and 4 who had all had huge issues with your best friend being a man in general, and Jason Todd of the Wayne family specifically. You hadn’t seemed aware of the actual problem, just the symptoms: showing off, being obnoxiously vocal about your relationship when you preferred privacy, a dozen different instances of insecurity, becoming possessive and clingy especially when you wanted to make plans with your best friend. It had been very clear to Jason that he was the problem. And he found he didn’t particularly mind it. You deserved better anyway.

“Meet me in the middle,” you requested, squeezing his shoulders to regain his attention. “And I’ll try to meet you in the middle too.” 

“I can try…” Jason said slowly, smiling despite himself when you patted his cheek in approval.

“That’s all I ask. Zip?” 

You turned, standing perfectly still while Jason zipped up your dress, taking the extra time to fasten the tiny hook and eye clasp at the top for good measure. 

“All set.” 

“You’re the best,” you said easily as you moved back toward your vanity, sorting through your various tubes of lipstick.

“I know. It’s a curse.” 

You snorted but didn’t argue, turning once again to present him with four different shades of lipstick. 

“Which one?”

“What color are your shoes?”

“Black.” 

Jason tapped the deep burgundy.

“Ooo. Going bold tonight,” you commented, tossing the others back in your makeup bag.

“You don’t have to,” Jason said with a shrug, but you were already leaning into the mirror, carefully smoothing the rich color over your lips.

“No, I like it.” 

Things moved more quickly after that. You made Jason pick out your purse while you put on your shoes, and he chased you to the front door with a bottle of perfume Bruce had bought you last Christmas.

The ride was quiet. Jason had opted for the Wayne’s favorite car service tonight, since you were attending a public event. It always made you a little uncomfortable, carrying on a conversation as if there wasn’t a third person in the car. You texted each other instead. 

Jason didn’t protest when you directed the driver to the service entrance of tonight’s ritzy hotel venue. Even though you were technically a guest tonight, you’d earned enough favor with the staff of every fine event venue in the city to get special treatment. Including a way in that avoided the paparazzi stationed out front. 

“Can’t believe you sprayed me with that stuff,” you groaned as you led Jason down a service hallway, plucking at your dress with dissatisfaction. It was nicer than what you usually wore when working these events, but not by much. Still unadventurous in color and cut, designed to help you blend in. 

Jason caught your hand, gave it a comforting squeeze before releasing it.

“Do you not like it?” he asked, eyes wide with artificial innocence that made you scoff. 

“I smell like an old rich lady,” you complained. 

“Gonna break Bruce’s heart, talking like that. I’m pretty sure he actually picked that out himself.”

“Well we’re not going to tell him, are we?” 

He caught your hand again, intercepting it before you could fuss with your hair. 

“Will you stop? You look amazing. There’s nothing to worry about.”

You sighed, pausing before the door that would let you into the hotel ballroom and brushing your hands over your dress again.

“Easy for you to say.” 

Jason frowned.

“Hey,” he said softly, guiding your chin up until you were meeting his gaze. “Tell me how to make this easier for you.”

That alone seemed to do something, tension beginning to ease from your shoulders.

“I don’t know,” you sighed. “Just…”

“Be nice. I know.” He offered you his arm with an encouraging smile. 

“I mean it.” 

“I’ll be so nice he’ll fall in love with me, and you’ll regret ever introducing us.”

“Well, I believe the second part of that statement,” you laughed as he led you through the door and into the ballroom. By the look of things, about half of the invitees had arrived, small groups of business magnates, socialites, and philanthropists forming along the edges of the room to network and gossip and generally be seen together. 

“Rude,” Jason said drily, smiling when you pinched his bicep in retaliation. “Alright, where is this guy?”

“Umm…” You stretched up to your tallest, peering around at the near-identical suits around the room. “Right over there!”

He followed the direction of your gaze to 

“Is he wearing pinstripes?” 

“Jason.”

“I’m not being mean! I’m asking a question.” 

“Fine. Yes, he’s wearing pinstripes,” you said, flashing a bright smile as the man in question met your eyes and started making his way towards you.

“To a charity gala?” 

“I told you he was coming straight from work.”

“You did. Except the lines of that suit are too sharp for him to have been wearing it all day. Which means he changed into a pinstripe suit. For a charity gala.”

“Stop using your weird observation powers to be a bitch.” 

“You love when I - ”

“Well not right now I don’t. Cut it out.”

“Does he think he’s on Wall Street? Or a Law and Order rerun?”

“Jason.” A fierce whisper, accompanied by a sharp elbow to the ribs announced the arrival of your boyfriend, and Jason let out a sigh of defeat. 

“There you are!” 

The voice was, irritatingly, pleasant. A voice fit for radio. Or campaign videos. 

His greeting was smooth, polite, moving you from Jason’s arm to his own with subtlety and a kiss to your cheek. 

“You smell nice. New perfume?”

Jason bit down hard on his lip to contain a laugh, flashing innocent eyes at you as you glared at him over your boyfriend’s shoulder.

“Did you send my staff into a panic by turning up early?” you asked.

“Early is on time,” he replied, with the intonation of a phrase often repeated. “On time is late.” 

“I don’t think that rule applies to parties,” you laughed. 

“Definitely doesn’t apply to Wayne parties, anyway,” Jason added, snagging a champagne flute from a passing waiter and handing it to you. 

“Oh, thank you! I suppose now’s the time for introductions...”

“You must be Jason,” the other man said, holding out his hand. “Sorry, is it Todd or Wayne? I’ve seen it both ways in the paper.”

“Todd,” he said firmly, reaching to accept the offered handshake with a bit more strength than was strictly necessary. “Unless I need a last minute dinner reservation. Or I want to meet a famous person.” 

He knew how to play this game. Kind of. He’d seen Bruce and Dick play it often enough, anyway.

“Good for you,” the other man said with a polite laugh. “Making use of your connections. I’m William Woodley.”

“Middle name?”

William tilted his head curiously, but appeared unfazed.

“Samuel.”

Jason clicked his tongue in disappointment.

“Was hoping for another W.”

Take that, asshole. 

William gave another news anchor-esque laugh.

You looked faintly confused. 

“Well, I’ve heard a lot about you. Good to finally meet you in person.”

“You’ve got the advantage then. I only started hearing about you last week.”

Your sharp gaze bit into the side of his face, and he was sure if there was a subtle way to do it, you would have stomped on his foot for good measure. And he deserved it. That was too clumsy of an insult to land properly. 

“I can’t blame her,” William said, turning his full attention on you until your eyes softened again. “I’ve wanted to keep her all to myself too.”

Gag. Damn, he was good at this. 

“So, how did you two meet?” Jason asked, though you’d already told him the story. Twice.

“We - Oh, pardon me. Is that the mayor? Darling, we should go introduce ourselves,” William turned to you, eyes bright with excitement. 

“I’ve met him,” you said patiently. “Several times. And last week, I’m pretty sure his wife called me the help, so I think you stand a better chance at a good impression if you go without me.”

His eyes scanned over you quickly, assessing, smile beginning to slip.

“Oh. I don’t… I don’t have to go. We could find a different group to join.”

“It’s alright! Go ahead.”

“You’re sure?”

“I’ll be fine! I still have Jason.”

It was Jason’s turn to be assessed, though more cautiously. 

William gave a noncommittal hum, dropping another kiss to your cheek and whispering something Jason couldn’t hear before heading off towards the growing crowd of sycophants surrounding Gotham’s mayor. 

“Well, that was quick.” 

“Why are you being weird?” you asked, an overly-polite smile on your face as you watched William make his way across the ballroom. 

“I’m not being weird.” 

You gave him a flat look. 

“I’ve never met one of your boyfriends before! I don’t know how I’m supposed to act.”

“Like a human person, preferably,” you muttered, taking a long sip of champagne. “Like yourself, would be nice.” 

Jason’s sigh was drowned out by an enthusiastic voice calling out your name. 

“Seriously?” he complained quietly. 

Dick Grayson bounced up on sunshine and smiles (and expensive booze), snatching up your hand and guiding you into a graceful twirl before you could even say hello.

“Good to see you! You look lovely.” He dropped a gallant kiss to the back of your hand. “What did it cost you to get Jason in the building tonight?”

“I asked nicely,” you said, with a fond smile. “It’s good to see you too.”

“Funny, I always ask nicely for things - ”

“You do not,” Jason cut off, rolling his eyes. 

“Never works for me!”

“Well, she’s prettier than you.”

“Rude,” Dick said before turning to wink at you. “But fair. Was that William Woodley from the DA’s office you were just talking to?”

You blinked in surprise. 

“Uh, yes. He - ”

“He’s her boyfriend.”

Something in Dick’s brain seemed to glitch, and his eyelid twitched.

“Interesting! When did that happen?”

“What do you mean interesting?” you asked suspiciously. 

Dick hummed, rolling back his exuberant public persona as he searched for the right answer.

“Is he not a little… serious? For you?” 

“Have you met my best friend?” 

“Jason’s Jason. It’s different,” he said, waving you off.

“What does that mean?” Jason asked, feeling like he should probably be offended. This night was already giving him a headache.

“William’s sweet,” you defended. “And it’s kind of nice to be with someone more serious. He knows what he wants.” 

“Sure…” Dick slipped the champagne flute out of your hand, handing it to Jason. “Think you need that more than she does. You look like you tried to eat a snail. Again. I’m gonna go charm more rich people out of their money. Have fun!”

He turned away after a hard clap on the shoulder, taking only a second to identify his next target before he was off again, shouting out someone else’s name with his arms wide open.

Jason drained the rest of your glass, trading it for a fresh one which he handed to you. 

You took it without looking, your eyes once again fixed on William through the crowd and your perfectly-painted lips tugged into a slight frown. 

That was Jason’s fault, at least partially. And he knew it. 

He took a deep breath.

“You should go ask him to dance,” Jason said, plastering on his most convincing  smile when you glanced at him curiously.

“Why?”

“Because you’re a guest, they just started playing a new song, and you’re supposed to be having fun.” 

You tapped the edge of your champagne flute absently.

“Yeah… but he doesn’t get a lot of opportunities like this. And he doesn’t really like to dance, I don’t think.” 

Jason took your glass back, giving you a little nudge.

“He will if he knows it will make you happy.”

“You’re being sweet,” you said, tone nearly accusatory as you look over your shoulder at him.

“How dare you. Would you get outta here?” 

Your eyes narrowed a little, but you smiled anyway.

And Jason watched you make your way through the assorted guests, watched you come up beside William, your hand gentle on his shoulder. Watched the way his eyes lit up, the bright beaming smile he aimed at you. Tried, really really hard, to think you two looked like a good match. Tried to be happy for you. 

But your own soft smile faded after a few exchanged words, turned into something plastic and polite that clashed with the disappointment he could see in your eyes even from across the room. 

Something tightened in Jason’s chest, and he let out a slow breath. He didn’t know how to do this. He didn’t know how to fix this, how to make you happy. Not anymore.

What he wanted to do was shove everyone out of the way until he could stand right next to you. He wanted to steal you away into an alcove, make rude jokes about the elitist guests until you laughed, until champagne threatened to come out of your nose. He wanted to dance with you. Because he knew it would make you happy. Because your boyfriend wasn’t. 

Because Jason Todd had been your best friend for ten years. And he’d been in love with you for eight. 

*****

A/N: Help, I'm gonna LOSE IT! What do we think, besties? Is this anything? Come chat!

[stxrrgirlz]

Stepbro!Beomgyu x Stepsister!reader

Wc. 1.3k

A/n. I never fully finished kinktober from last year so I’m taking the time now to fully finish it. That means I’ll be posting 4 new fics before this month ends. I won’t be participating in kinktober this year buttttt I will be posting during it! I missed y’all <3333

1:34PM

Your apartment wasn't big enough for both of you; it already felt claustrophobic with just you and Beomgyu living in the place, but when he's constantly inviting friends over to stay the night, it gets even worse. You can't count on one hand how many nights you've walked out of your room with just an oversized shirt on and met with one of Beomgyu’s friends laying on the couch.

While you didn't mind his friends staying over every once in a while, the recurring visits from them made it hard to walk around your own home without the worry of flashing someone.

Sometimes you wanted to kick Beomgyu out of your apartment but he needed a place to stay during college, and your parents convinced you over many long phone calls to not put your stepbrother in a horrible situation like that. You weren't quite sure what to do about this problem, but one day when Yeonjun almost walked in on you showering, you decided to have a talk with him.

You sit on the couch in your living room with a bowl of cereal in your hand, slowly lifting up the spoon to your lips and crunching down on it. Hearing Beomgyu’s door open, you turn your head and speak with a mouth full of cereal.

“Come here,” you pat the seat next to you.

Bemogyu sits down next to you; he looks shy, and his hands are placed directly on his lap as if he's nervous of making contact with you. noticing his behavior, you raise an eyebrow and him.

Swallowing your cereal, you begin to speak in a confused voice.

“Are you okay?”

“Oh, yeah, did you need anything?”

You lean in closer to him, putting the back of your hand against his forehead. A crimson blush develops on his cheeks as he stays perfectly still.

“Well yeah, but you're just acting weird.”

“Oh- sorry”

"No, it's fine; however, I wanted to talk to you about Yeonjun... or all your friends.”

You lean back from your previous position from in front of his face.

“I mean, it's nice to see you socializing, but there isn't enough space for them to stay over every day, not to mention they don't know how to knock.”

Beomgyu nods slowly, “Well, I'll invite them over less.”

“Thank you”

You nod with appreciation and focus on continuing to eat your (soggy) cereal.

Beomgyu takes a controller from the coffee table and turns on Mario Kart, handing you your own controller silently. Looking up from your lap and staring at his face that has already turned back to the screen. Moving slightly closer to him, legs touching so you can get a better view of the screen. Beomgyu freezes up before relaxing again as he starts the game.

The next few hours pass slowly, and you start growing sleepy. Beomgyu notices and turns off the console. Stretching out your arms before laying your head on his shoulder. Beomgyu adjusts himself so he's fully lying down and you're clinging onto him from the side. You can hear Beomgyus' heartbeat when you lay your head on his chest, adjusting your leg so it reaches across his body, making your ass perfectly positioned on his dick.

Hearing Beomgyu groan, you try to lay still so he thinks you're sleeping. His hand moves from your upper back down to your ass, groping the flesh in his veiny hands. Making a move, you slowly start to move your hips up and down, grinding on his sweatpants. Beomgyu doesn't say anything about your advances and instead reaches his hands into your pants from the backside and moves them down to your ankles with his hands. You kick off the rest of your pants without his help.

Beomgyu moves your pants to the side and dips his hand into your folds. Feeling your wetness, he quickly flips you onto your backside, with him hovering above you, making it easier to maneuver. Beomgyus’ hands skillfully work their way deeper into your cunt, collecting your slick on his hands on the way, slowly scissoring your cunt open, preparing you for his length.

Letting out a lengthy moan at the feeling of his fingers inside your gummy walls, you arch your back, pushing yourself into him. Beomgyu nuzzles his face into your neck and keeps a lethal pace with his hands. Before adding a third finger to your tight cunt, he pulls away from the crook of your neck and initiates a deep, passionate kiss. Your lips latching onto each other, almost as if they were made for each other. As Beomgyu pulled away from your lips, he quickened his pace, focusing all his attention onto your clitoral area as his thumb circled the sensitive part.

Your lips part to breathily moan out Beomgyus’ name and stutter out a warning before you cum. You feel your fluids dripping onto Bemogyus fingers. Beomgyu uses his clean hand to lift up your chin, making eye contact with you before sticking his fingers in his mouth and licking them clean.

Beomgyu pulls away from your body to pull down his own sweatpants. You sit up a little and you meet with Beomgyus bulge, the cum staining his boxers; you can tell he's been painfully hard for a while now. You use your hand to pull down his boxers, and his length jumps out at you. Beomgyu uses his hands to push you back down to lay comfortably on the couch again and uses his hand to grab his cock and guide it through your folds.

You wrap your hands around Beomgyus neck, letting out a short, breathy moan straight into his ear. You feel Beomgyu stretching you out. You feel every single vein, and even the slight curve at the tip, he filled you out so well, unlike any other guy who's tried to make you cum.

“fu-fuck you’re too tight, baby.” Beomgyu whispers gently into your ear.

”s’ too big,” you whine back in defense.

Beomgyu lifts up your hip to get a better angle and slowly starts moving in and out of your tight cunt. Your nails fly to the beomgyus back, gripping it tightly, leaving lasting marks from your tight grip. As you get used to beomgyus length, he continues to move, moving his mouth to your neck to suck and tease the area. Red and purple marks follow wherever his mouth goes from his roughness.

Beomgyu pulls back from your neck and makes eye contact with your lust-filled eyes. He can see the way your mouth contarts and moves to let out sounds, making it known how good he makes you feel. He reaches his hand down to your clitoral area to stmulate it, helping you get to your climax quicker. Beomgyu knows he's not going to last any longer in your cunt when he feels your cunt squeezing him tightly, giving him the signal you're close.

“m’ so close,” moaning out as you dig your nails tighter onto Beomgyus back.

“I know, baby, you’re- fuck, squeezing me so tight.”

Beomgyu quickens his pace, adjusting himself yet again to hit your G-spot.

You look down to see a gush of liquid coming out of your cunt, covering your face as Beomgyu pulls out, embarrassed that you squirt all over Beomgyus's bottom half. Beomgyu removes your hands from your face and holds eye contact with you as he lets himself come undone all over your stomach.

Beomgyu falls on top of your body, using his hands to fully cover you in his embrace, your bodies fitting together like puzzle pieces, sounds of heavy breathing filling the room. You both lay there for a while, taking in that you just fucked your step-sibiling. Beomgyu gets up after a while, getting a cloth to clean you up with and moving you to his bed before laying down with you and holding you in his embrace.

[thecoolerliauditore]

Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

[ghastbutlikegay]

by the way i just wanna make sure it's clear that i would 100% rather have my RSD triggered than have someone let me make them uncomfortable to protect my feelings. my disproportionate emotional response is not your responsibility. i dont want people to feel uncomfortable or upset because of me. me having ADHD and being sensitive is not an excuse for me to hurt you

[crescentfool]

i love ryomina

no but seriously. even when i’m thinking about other things that captivate my interest, i find myself coming back to them and feeling like i fell down three whole flights of staircases every time i do. they are one of my favorite pairs in media and are very special to me.

it’s the way that ryoji and minato’s lives are inevitably intertwined with each other due to the circumstances 10 years ago on the moonlight bridge. without no minato, there is no ryoji. minato as he is today is because of ryoji. they have irreparably affected each other’s lives that you cannot discuss one without bringing up the other one.

ryoji mochizuki, who is death, pharos, thanatos, nyx avatar, the man of many names and identities, is the perfect summation of p3′s messages and themes.

minato arisato, the wildcard and protagonist, who has boundless kindness in his actions despite the unfortunate cards handed to him.

the two of them complement each other and tell a beautiful story from start to finish.

minato’s personas capture this perfectly. he awakens to orpheus, who’s flames burns bright, is snuffed out by thanatos during the encounter against the arcana magician. a visual precursor of the idea that ryoji stole from the life that minato could have had.

it’s the way that over the course of the game as minato interacts with pharos, talking throughout the dark hour, forging a bond that cannot be broken, that allows ryoji to exist. minato humanizes death.

november. the bells toll, calling the appriser. and yet, it’s peaceful... quiet, and full of life. ryoji, who breaks free from death’s chains, refusing his role, is given the chance to live for a month. to make the most of the humanity that minato has given him over those ten years. and what a life he lived. ryoji’s life is a reflection of what minato’s life could have been like in another universe.

it is the way the two of them are reflections of each other. ryoji with his hair down is just like minato. they are both stubbornly committed to choosing to be kind, to love life, yet are chained down by the cards the narrative dealt them with. they finish each other’s sentences, knowing each other intimately in a way no one else does.

how is that, a boy who lived for only one month, profoundly changes the course of the narrative? he is simultaneously relevant and irrelevant. blink, and you miss it, the beautiful life that he led.

ryoji is horrified at the revelations of being the appriser. he who so desperately wished to forget that his existence was meant to bring the end to all life, was unable to escape the inevitability of death. in a non-human way, of course. he becomes remorseful. a shadow of his brief time as a human who was enamored by the small beautiful things that life had to offer.

he is swallowed by grief. grief knowing that his very existence will take away not only minato’s life, but everyone else’s. the very thing that ryoji loved- life, fundamentally went against the role he was born for- to be the harbinger of death. and unable to grapple with this sadness he believes that the best thing for minato to do is to kill him, so that SEES can live in bliss not knowing about their inevitable end.

SEES is left rattled, calling into question what the meaning of life is and what they do when faced against the inevitability of death.

and!!! minato chooses!! for ryoji to live!! even in spite of what ryoji is MEANT to embody, minato still stubbornly chooses to defy death itself! and if that’s not cool i don’t know what is!! minato wants everyone to have the chance to live!!

so he climbs. he ascends tartarus, to meet ryoji, again, who is now the nyx avatar. and i just think there’s something so so beautiful about being able to use messiah, minato’s ultimate persona, against nyx avatar.

messiah, being the fusion of orpheus and thanatos is peak ryomina to me. because ryoji and minato have established an unbreakable bond from having been entwined for 10 years, minato still has a piece of death with him, and by proxy!! ryoji is able to defy and rebel against nyx trying to bring the fall! and i think that’s fucking cool shit if you ask me!

even when all of the arcanas have been gone through, it’s still not enough to stop the fall. and yet. minato knows. in the way that ryoji was sealed in minato 10 years ago by aigis... minato becomes the great seal so that everyone can live. it comes full circle.

march rolls around. he fulfills his promise to SEES on graduation day. minato dies from exhaustion. but goddamn does his sacrifice make me weep- he’s had such, such a tiring journey. he’s been through so many things because he was at the wrong place at the wrong time. but at the end of it all, he’s reunited with ryoji in death.

and i think this is why ryomina continues to evoke so much emotions for me, to this day. the relationship that they have embodies so much of persona 3′s messages and themes that it makes me feel like a microwave with nothing running in it.

p3′s message is very hopeful, for me. my favorite takeaway from it is that even if death is inevitable, appreciating the life that we were given and choosing to live as best as we can with kindness (even if we can’t feasibly do everything), is just? really nice? and you see this manifest in both ryoji and minato’s personalities and what they do for the other characters.

ryomina just feels so distinct to me, the flavor that their relationship ties back to my favorite takeaways from this game and im just!!  god!! i love you minato arisato! i love you ryoji mochizuki! im so glad that i could meet them! i’m happy that they changed my life! they made me want to appreciate the connections in life even if they were fleeting! they made me!! want to pay attention to the good moments in life and cherish them!

i love ryomina so much!!! i’m so glad that these two could bring so much joy into my life! and i hope that others can have this joy too! 💛💙

[your-fave-is-christian]

not a request but how's the askbox looking?

Kinda full 😂 127 asks not counting this one right now. I did not expect this blog to get NEARLY this much interaction when I made it, but I'm so glad it's making people happy!!

[demigodofhoolemere]

Me through most of Boom: Wow, this is a really solid dramatic episode.

Me when Moffat needlessly sprinkles in anti-faith sentiments without specifying that it’s blind faith in bad things that the Doctor doesn’t like, which makes it come off like the Doctor is just against religion generally:

[redjukebox]

Me @ my brain: cmon man we gootta focus on this school shit and we gotta do all these things to ensure we’re good for the next quarter and we literally cannot be late or we’re so screwed and we reeeaally have to make an appointment like we’ve had to for the past 3 months pleeeaasee

My brain: ok but like what if Tick Tock constantly feels the need to move around, whether it’s moving his ears, tail, tapping his hoof, or even just talking to make sure that he still can?? Like bro was paralyzed and literally could not move AT ALL for at LEAST a year (at the very VERY least) like that must’ve done SOOOO MUCH DAMAGE OH MY GOD HE LITERALLY COULD NOOOT MOOVE BRO HE WAS 12

[theajaheira]

decided by accident to spend today working on the mermaid novel and then making picrews. so here’s the most important people ever

[jjangblog]

↓

[orcelito]

Having lost my cat, my uncle, my great grandmother, my grandma's best friend (& one of the people who helped raise me), AND my dad all within the span of 9 months,

I have little sympathy for people who use deaths as an excuse to be an asshole. I get it, it sucks. Get the fuck over it. Your grief is not an excuse to treat others like shit. What the fuck.

[livvyofthelake]

utterly cannot stand the type of post thats like "what are the female characters you like" and i KNOW it's not the fault of the people who make those posts i know they only do it because 95% of this site's blorbos are men. but i hate it anyway. like really the only way you can get fandom people to talk about women is to explicitly tell them to talk about women. and it always comes off so disingenuous because i KNOW most people reblogging those posts would never say those characters on a generic "what are your favorite characters" post. like it's all just so bleak :/

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[yeyinde]

(sighs dreamily) i loooove the way you write fucked up and gross simon. the size kink and somno drabbles have been living rent free in my mind for almost two weeks now. the recent stalker piece was also so deliciously terrifying, i actually had a dream/nightmare today that was a mixture of stalker!ghost and not-dog!soap 😭

are you planning on writing any more for either of those?

ahhh thank you!!!! this had me wondering how i could maybe blend the two and this happened.

stalking. HEAVILY implied noncon somno. size difference.

Simon decides your dog, your baby, needs a man in the house. and since you like to call yourself his 'mama,’ then it’s only right that he becomes the daddy both of you need.

Your dog does not like strangers.

He's a rescue and the sort of life he lived until now, until you, is mostly a mystery. You found him on a rainy day, panting under your awning - a gnarled mess of matted fur glued to bone. Too skinny to survive another winter. You took him in right away and gained his trust. His love. But whatever he had left to spare (lots, it seems) is strictly reserved for you. Everyone else is a threat, a worry. Even the vets he's known since you found him all those years ago still get the same wary glances, the same growls then they lean in too close to whisper something in your ear.

He's just—special. The sweetest thing ever when it's just you. Your baby. People joke—slightly nervous—that he treats you like his mother. Following you closely with his big, glossy eyes tilted up to stare at you. Loving. Cuddly. Rests his big head on your lap at night with a great, big sigh. Tired from a long, hard day of protecting his house from squirrels and the stray delivery driver.

But when it comes to others—anyone, really—he’s aggressive. Territorial. All the vets and trainers say that it's his breed. That he just needs to be trained. Exposure therapy. Behavioural. And it works for all of two weeks before he's back to his stubborn self. Snapping at anyone who gets too close to you.

You post warnings on your fence. Your front door. Take precautions when you walk him. Warn anyone who gets close that he doesn't like anyone. Full stop. No exceptions. And it works. Helps ease the stress. He still goes to therapy. To training lessons. But he's smart enough to trick them into thinking he's learning.

And it's fine. People can't get too close to you. To his house. His territory.

Or so you thought.

But he's been acting strange lately.

You caught him barking at something through the fence a few months ago; spittle flying from his muzzle as his lips peeled back, snarling and vicious. If the fence wasn't reinforced, you think he would have broken it down to get at whatever was behind it.

It continued like this for a few days. Each time you went to check and see what was there, all you find is littered cigarettes. The teenage son of your neighbour, you think. He likes to hide in the dense woods so his parents can't find him. You'll talk to him about it later. Ask if he can do it a little further away from the fence so he isn’t disturbing Baby. 

As the days grow, his growls and snarls diminish before stopping outright. In the interim, your unease grows.

It's small—at first. 

He wants to be outside more. Always whining at the back door, scratching at it with his paw. When you let him out, he runs right to that spot by the fence. Sits down, and just stares. When you go out to look, there's nothing there. Just a dark, sprawling coppice. Cigarettes on the ground. But something catches his attention. Keeps it. Holds it.

He leads you to that spot sometimes, too. Nudges you with his big, furry head to your thighs. Shepherding you to the fence, and then sits back, clearly preening. Proud.

"You're mama’s silly boy, aren't you?" you coo, scratching his ears. It must be the neighbour. Maybe a stray deer wandered by. You catch a flash through the tree line. Twin puddles of black peering through the tangled weeds. Your dog perks up, looking towards it. A deer, you think. A stray buck. You huff, patting his head. "Made a new friend, huh?"

But you can't shake the feeling that something else is out there. That something is staring at you.

Nothing, you tell yourself, fighting off a shiver. It's fine. Fine. He sneaks off at night sometimes. You hear him playing in the hallway. Wandering around the house. The tack-tack-tack of his nails against the hardwood as he walks back to your bedroom lulls you back to sleep. You feel the bed dip. Something warm against your back. You sigh, melting into the sheets—

There's nothing to worry about.

He'll protect you.

But the next morning, you find him locked outside. The patio door shut. The deck is dried from the sun, but his fur is wet. It rained last night. You drifted in and out to the patter of it on your window. The soothing weight of his body curling around you—

He must have gotten out in the morning. Rolled around in the grass. But when you put him in the tub later to scrub the rainwater off of his cost, his belly is dry.

It's nothing. He was in bed with you last night. It's fine. Fine. Everything is easy to explain away as coincidence. Nothing usual. The feeling of being watched. The missing food from your fridge. The creaks of the old house at night. Things shifting around—keys missing only to turn up somewhere else. Rodents chewing through your landline. 

The panties you shed, tossing into a corner before getting into the shower going missing—

They’re just—lost in the wash. You must have thrown the leftover food away when you cleaned earlier and forgot. The lingering scent of cigarettes. Smoke in your bed. The cloying scent of loam, humus. Fresh dirt. The stains on your bed. The strange smear in the gusset of your panties when you peel them apart.

Something thick, firm between your thighs—

Fine. You tell yourself. Everything is fine. At best, it's a gas leak. At worst—well.

Baby will protect you. 

Always. 

But the next day, he brings his favourite toy to the back door, asking to be let out, and this isn't—

It's not normal.

He's possessive over his toys. Keeps them on his daybed and refuses to let anyone touch them. Only you. He doesn't bring the. Outside, either.

But when you peer outside a few minutes later, the toy is lying by that spot near the fence. He's sitting down, tail wagging. Happy. Excited. It continues like this for the next few days. He brings his toys to the fence, coming in later, licking his lips. When you brush his teeth at night, you smell something gamey on his breath. Meaty. 

Getting out of bed a few hours later and playing in the hallway. Going to sleep with you at night, but somehow getting out in the early hours of the morning, waiting for you on the patio when you remember the huff of his breath over your neck less than an hour ago—

No. You're just—

Getting the time wrong. It's fine. He'll protect you. He doesn't like anyone but you.

You hear footsteps in the hallway at night next to the click-clack of his nails. When you jump out of bed to check, it's just him. Sitting by the back door, head craned over his shoulder when he heard you coming. His favourite toy is sitting on the ground in front of him. You fight a shiver. The feeling of eyes burning into you churns your stomach.

"I'm going crazy, sweetheart," you coo, but feel the threads of your sanity begin to snap one by one. "But you'll keep me safe, right?"

His tail wags. You pretend not to notice the gap in the patio door. Opened just a crack. You shut it, forcibly telling yourself to remember to close it next time and fight the memories of locking it before settling on the couch to watch old re-runs. You drag him back to bed, burrowing your head into his fur, listening to the thud-thud-thud of his heart in your ear. 

When you dream that night, it's of a big, scarred hand making its way between your thighs. A rasping, masculine voice in your ear commanding you to be good—

You wake up with your thighs sticky, wet. Your cunt pulsing. There's an ache there; a sting. It twinges when you move, tapering into a sore throb as you swing your legs over the side of the bed, woken up by the strange dream—fingers between your thighs, a head resting on your belly, calling you a good girl—and a noise.

A low murmur comes from the living room. You wince with the first several steps, forcing yourself to ignore the uncomfortable feeling between your thighs. The wetness that drips down your leg, some of it already dried, sticking to your skin. It’s fine. You just had a—

A wet dream.

—everything is fine. Fine. Your heart lurches. Lodges in your throat. Each beat feels like a fist against your tissue trying to break down the prison of your flesh to flee. 

You slowly inch toward the hallway, the sound, making excuses for the fear that curdles in your belly. The itch in the back of your head that calls you stupid. Demands you go back to bed. To sleep. You’ll wake up in the morning to Baby slobbering over your chest, drooling as the time ticks away in a slow crawl towards his usual breakfast. 

It’s tempting. The sleep congealing in the corners of your eyes, weighing heavy—molasses-thick—over your sense of awareness: cobwebbed in that strange, uncanny realm of sleep and wakefulness; hypnagogia turning shadows on the walls into human shapes. The whisper of wind into the brassy drawl of a voice. 

Through it all, the prickle rears. Says something isn't right. Hasn't been right for a while now. It's fine. Everything is—

It doesn't make sense at first. Your brain tries to wrap around the images your eyes feed it. Untangling the dizzying sense of confusion that runs along your hindbrain like a jagged knife; grazing tissue, scraping over nerves. The picture comes together quickly. There's no misinterpreting the shapes.

A man is lounging on your couch. Legs kicked up on the coffee table, ankles crossed. The remote is held in one hand as he lazily flicks through the channels on your television screen. The picture of ease. So relaxed, so comfortable in your space, that you begin to feel a little bit like an intruder. A voyeur peering between the curtains.

This feeling is reinforced when you peel your eyes away from the horrifying mask on the man's face—a black balaclava—and find your dog lounging beside him. Resting with his head over this stranger's thick thighs. His head perks up when you approach, tail wagging, but he doesn't get up from his spot. Content to bask in the half-hearted attention the man doles, a hand buried in his fur. Dragging over his ears. Down his back. Monotonous flicks of his thick wrist, nearly the same width as the barrel of a baseball bat.

And that just trembles down your spine in the worst way.

He's the same height as you are sitting down. Takes up two cushions on the couch with his absurd bulk. Massive, you think. And then it all rushes through you. The knife slips into your cognisance.

There's a man in your house. Petting your dog,

your dog who tries to bite the same vet he's had for years. Who trusts, who likes, no one but you—

You make a noise. Something strangled in the back of your throat. Muffed, unable to escape through the clot of your heart getting there first. It tangles around your pericardium and is too late to take back. To swallow down. 

It doesn’t matter, though. 

The man has been watching from the beginning. 

Dark eyes (a dark, black flash between the leaves—) drill into you. Staring. That familiar, unease feeling is back again, creeping up your spine. It's been him the whole time, you know. The thing behind the fence. Must be. The same brand of cigarettes you found on the opposite side is sitting on your coffee table, right beside his feet.

His chest expands with his inhale. You smell stale smoke. Something wild. The scent of the forest after a summer's rain shower.

"Finally up, are you? Thought you were gonna sleep all day." His voice is deep. Brassy. The growling roll of an approaching thundercloud. You shiver. Jerk back, but—

Baby growls.

He's never done that before. Never barked. Never snarled. Never nipped.

But right now, his teeth peel back, muzzle wrinkling as he lifts his lips. And you know it's playful. Seen this look on his face when you throw the ball across the yard. It's just him being his silly self. He won't attack you. Won't maul you. 

The man lifts his hand and your dog limbers up. Shakes. He jumps off the couch and trots toward you. Nothing is threatening in the way he moves. It's the same lumbering gait, the same happy wag to his tail, but he moves himself around you. Stands between you and the only escape.

"Baby—?"

"Taught 'im a few tricks," the man drawls conversationally—like he wasn't a stranger in your house. "Got a good boy on your 'ands. Jus' needed a bit o'trainin'—”

He snaps his fingers and Baby moves. Bumps his head into the back of your thighs. Pushing you. Nudging you toward the man. It’s so horrifying familiar that you find yourself moving without a thought. Following along. 

"He jus' needed a man in the house, didn't he? A father figure—" 

You're going to be sick. Think you would have been already if your heart wasn't lodged tight in your throat, keeping everything down. 

The man lifts his hand. Curls his fingers. 

"C'mon, mommy," he taunts, voice a derisive roll. "Come sit on Daddy's lap. It's movie night tonight."

Baby pushes you forward happily, tail wagging, wagging—

Happier than you’ve ever seen him as this stranger reaches out, grabbing your waist and hauling you onto his lap. You think about fighting immediately, struggling to get out of his hold, but he moves back and the unmistakable, blunt press of a gun sends shivers rolling down your spine. You still instantly. Back drawing tight. Fear is a wet, hot pulse behind your ribs. 

“Don’t fight it, birdie—” You feel the warm, damp press of his mask against the shell of your ear. The ridges of his lips move beneath the fabric as he speaks. 

You hear him inhale, drawing in the scent of your shampoo—your fear: an oily thick miasma pooling behind your ears, against your nape—and feel tears pool against your lashline when a surge of familiarity wells up at the solid, firm weight of his chest against your spine. His thigh slips between yours, spreading them wide over the arch of his muscle. Limp, dizzy, you fall back into his chest when he pulls you in, slotting a burly arm over your ribcage. Locked in tight. A shackle. 

“Ain’t go’ nothin’ t’worry about,” he continues, hips shifting. Moving. And—

It’s a not gun. You know it isn’t. When you whimper, it throbs—

There’s the echo of a groan in his voice when he huffs, lips pursing into a kiss. “Nothin’ at all. C’mon, Baby—” 

And Baby obeys eagerly, jumping up on the couch beside him. His snout is warm, wet, when he presses it to your arm, sniffing. Please, you think, staring into his eyes as tears swell, pooling down your cheeks. Please—

But the man lifts his arm, and Baby circles the cushion before falling against his side with a deep, content sigh. Hope is snuffed out of your chest in an instant. The man’s hand falls to his head, rubbing his skull affectionately. 

“Good boy.” Baby perks. His happiness is a palpable thing that swells around you as he melts, eyes slipping closed. “Gonna be a good boy while mum an’ dad spend some time together, ain't you, boy?”

His arm tightens around your waist. Chin notches over your shoulder as he shifts back, legs kicking out to spread your thighs further apart.

"Now," he drawls, hand sliding down to the mess between your thighs. You shiver against him, toying with the idea of running, fleeing—but he must know. Senses it, maybe. He lifts his hips, pressing the gun into your spine. A threat. A warning. But with the way he swallows you up—broad chest closing in on you, trapping you on all sides—you know it's futile.

He has you.

Your submission makes him purr.

"Baby's sleepin', so now let daddy take care'o mommy—"

[haikyuupaladin]

TLDR; don’t give tumblr money until they start making visible improvements towards accessibility

I’ve seen a few posts around about something people are calling crab day where you’re supposed to gift the crab button to your mutuals to support Tumblr financially. Please don’t participate in this unless Tumblr starts making noticeable improvements towards accessibility between now and then. It’s been 5 months of me trying to get the bare minimum of accessibility for photosensitive users or even just find out who I can talk to to get anywhere, and Tumblr is refusing to make any changes.

@photomatt has doubled down on the suggestion that you should just pay for ad-free or install an ad-blocker instead of listening to any of the suggestions photosensitive users have repeatedly made. Please do not give money to Tumblr until they show a commitment to accessibility because they will continue to ignore our requests if it doesn’t impact them financially.

Some of the requests we’ve made are:

1. Allow us to disable autoplay on browser as well as the app. This is an accessibility feature, not a data-saving feature, and should be treated as such.

2. Include ads in disabling of autoplay, along with other formats that currently get around the autoplay feature. Currently even if you have autoplay disabled you can still end up with flashing lights in your face every few posts from ads.

3. Improve the reporting process for strobing ads. The quick reporting process doesn’t provide good options to ensure the person reviewing the report realizes that it’s being reported for flashing lights so you have to hope they agree it’s either malicious or offensive and don’t just brush you off as abusing the report function. The more complicated reporting process involves getting a screenshot and the link that the ad brings you to, which requires lingering on the ad, which if you’re trying to report the ad for your safety, is dangerous. You can also still get the same ad 10 times a row after reporting it until it’s been reviewed. Which again, presents a danger to users.

4. Add a community label for flashing lights. Flashing lights are commonly untagged or mistagged, even sometimes maliciously. It would be extremely helpful to the photosensitive community to be able to add a warning to a post that doesn’t have one.

I’ve talked a lot about the photosensitive community in this post because that’s what I have personal experience with and what @photomatt has explicitly come out and just said to buy ad-free about, but there are definitely other accessibility issues that need to be addressed as well (like the alt text function needing improvements to make it accessible to users who need it and don’t use screenreaders, or the fact that a lot of tumblr official stuff still doesn’t seem to use the alt text feature themselves). Please feel free to add on accessibility issues I’ve missed in the reblogs.