#nsfpc

[wrath-bound-trio]

For a Sinday fact!

This man has two dicks!

Both at 10 inches!

[archive-of-the-guild]

The Beginning

Problems at home (Related Headcanon: Slightly triggering content mention)

Not long after meeting (NSFPC)

Egg and Recipe (Reasons to go home)

Returning Home (I NEED TO WRITE THIS BITCH 😢😭)

[inktog]

Ants, Eyes, Butterflies, and the Hole in Marcy’s Heart

[CW: child sex abuse, rape, incest, body dysphoria, Christianity, transphobic hate crimes]

Ever since True Colors aired, I’ve wondered at the sexual implications of Andrias skewering Marcy with his flaming blade. Sometimes a sword is just a sword, I know. Sometimes a large man ramming his gigantic sword through an adolescent girl in a way that draws attention to how small and vulnerable she is by comparison, is just a large man ramming his gigantic sword through an adolescent girl in a way that draws attention to how small and vulnerable she is by comparison (220).

But the sexual violence imagery kept piling up—especially in the Core’s possession of Marcy (307b).

As this anon points out, Andrias puts a person inside of Marcy (307b): symbolic impregnation, foreshadowed by the fertilization imagery that precedes her impalement (220, above). The binary data that floods her body, ganking her physical autonomy (307b), is akin to a swarm of gametes, the “DNA” of the Core—which is itself both impregnator and, as a disembodied robot head, the child.

Compounding the impregnation imagery is the facehugger-like claw that snatches Marcy from the safety of Olivia and Yunan (307b). This might seem like a stretch, but Alien’s facehuggers are referenced more overtly in Marcy’s debut episode (206), so the callback seems noteworthy.

Finally, the Core keeps Marcy’s consciousness “locked in a little room” while piloting her body (314b). This strikes an eerie parallel to Apothegary’s spores, which make Sprig feel like “a prisoner in my own body” (119a) and which symbolize sexual abuse.

The big question is: Why does Marcy live out an extended rape metaphor within the dreamscape of Amphibia? Let’s start with the most obvious explanation.

Answer #1: Marcy was sexually assaulted and impregnated sometime before leaving Earth. Her impalement and possession is a reenactment of that trauma. If Andrias is a mythic stand-in for Marcy’s father, then her dad is the likely perpetrator.

I think it’s important to sit with this reading and not dismiss it out of hand for being too upsetting. Amphibia is a coming-of-age story, and sexual violence is, horribly, a part of many people’s childhoods. Young teen girls are assaulted more often than any other age-gender demographic. About half of child sex abuse is committed by family members.

That Marcy willingly returns to her parents is a strike against this idea, or at least against her dad being the rapist—although it’s not out of the question that Marcy would choose a known evil over fear of the unknown after all the horrors she experienced in Amphibia.

But in any case, it’s not the only explanation.

Ants vs. Newts

Mind-body dualism is a recurring theme for Marcy. The Shadow Fish are incorporeal ghosts, defeated only once they become flesh and blood (210a). Triple B declare themselves “analysts” as they scoff at “field work” (206). Decapitation, a literal separation between head and body, shows up three times in conjunction with Marcy: the ant head presented to Olivia (206), the Toadstool clock tower (215a), and Fleafy (216b). The Core alienates Marcy’s brain from her own flesh (314b). And way back in her debut episode, Newtopia is a paragon of intellectualism and culture, while the invading barbariants are driven by animal instinct (206).

The barbariant-newt conflict is also gendered. The ants have a queen with no king; Newtopia, a king with no queen (206). They are earthly, bodily, mortal, female; we are enlightened, disembodied, our rulers immortal (307b, 314b), our king male. They procreate and die; we preserve and persist.

So when the ants threaten to “turn Newtopia into a giant anthill” (206), the fear is not just body overwhelming mind, but also female displacing male. Accordingly, the anthill evokes a uterus (given the focus on queen-as-mother) and breasts (a mound of female earth). This is firmly Marcy’s episode, Marcy’s mission, Marcy’s triumph—and Marcy’s body dysphoria.

He witnesses his own reflection, and it is horror: a jump scare that causes him to recoil in fear (210a). Apparently, Marcy doesn’t like looking at himself. I count this as another point for body dysphoria, backed up by the fact that he alone doesn’t keep his copy of the trio’s photo.

Marcy, like a Shadow Fish, fears the mirror because it embodies them—makes the fact of their female flesh undeniable. (Or, well, “female.” I’m sacrificing perfectly trans-inclusive terminology for the sake of clear communication, with the justification that Marcy’s unconscious also seems to conflate sex and gender.) The butterfly which distorts their visage signifies metamorphosis, change—puberty.[1]

The recurring rift between mind and body is symbolic of Marcy’s tendency to get “in the zone”: to shut out her physical surroundings and focus with single-minded determination on a puzzle, game, or some other mental task (206, 214). This is plausibly the result of an innate neurodivergence; autism and ADHD are common headcanons. But dysphoria provides an alternate, or at least supplementary, explanation: Marcy’s body is the unbearable reality from which she escapes to her head.

Answer #2: For some trans folks, the mere existence of unwanted sex characteristics feels like a violation on par with rape. The extended sexual violence metaphor of Andrias and the Core—the betrayal, the loss of autonomy, the abject horror—communicates Marcy’s relationship to his own body as puberty takes its hold.

The Penetrating Gaze

Marcy’s psyche spawns monsters with prominent, leering eyes: the Core (307a) and the Shadow Fish (210a). This could just be a symptom of Marcy’s social anxiety, their “trouble looking people in the eye” (207a). But given the sexual symbolism already present in the Core’s treatment of Marcy, I’m inclined to view it as a kind of ogling.

Andrias’ sword is part of a Biblical allusion that we’ll dig into later. For now, just note that “a flaming sword turned every way” (Genesis 3:24) evokes the omnipresent, red-orange glare of the Core, and thus conflates the act of looking with the act of assaulting.

During the mirror jump scare, Marcy’s gaping, toothy maw is a callback to “bad boy” Branson, whose open trap (210a) is both lepidopteran and yonic.[2] Through the plant, butterfly with teeth becomes synonymous with vagina dentata, a fantastical defense against rape. For Marcy, then, puberty is a time to throw up defenses against the possibility of sexual violence.

Answer #3: The leering gaze which haunts Marcy represents unwanted sexual attention from peers or adults directed at her maturing body. Rape and pregnancy are not reenacted traumas, but unrealized fears: the horrifying endgame of all this attention.

Between Anne and Sasha’s dueling and Andrias’ flame blade, swords are sexualized. Marcy is the only one of the trio who doesn’t wield a sword, a possible hint that he’s ace.

Answer #3a: Marcy’s discomfort with sexual attention is compounded by their asexuality.

A popular interpretation of the prom poster and Sashanne fusion (Amphibia 307b) is that Marcy is attracted to both of her friends; she’s afraid that they’ll start dating each other and that she’ll be left behind. After being confronted with this nightmare, Marcy becomes the leering eyes, villain of her own story (307b). Even earlier, Marcy’s fear of her own reflection likens her to the other set of oglers, the Shadow Fish (210a).

Perhaps Marcy fears the power of his own gaze—thinks he’s hurting Sasha and Anne just by looking at them, wanting them. And perhaps the fiery phallus (220) belongs not just to Marcy’s rapist, but simultaneously to Marcy himself, sprouting unwanted from his heart, which will soon bear one of a set of red eyes (307b).

Answer #1a: As a result of an assault, Marcy was forcibly given sexual knowledge beyond their years, which colored their perception of both Anne and Sasha. Marcy has a lot of shame attached to the assault and to their own experience of sexual attraction.

Answer #1b: Marcy believes her assault to be the source of her transmasculinity.

Back to Paradise

Marcy thinks he and his friends can keep adventuring “forever and ever” and “never have to grow apart” (220). Perhaps Andrias hinted earlier (off-screen) at his ability to cheat death, or perhaps Marcy just assumes that he’ll find the secret to immortality somewhere in the great wide multiverse. Either way, Marcy does not want to die.

The phrase never grow also implies not growing up. We’ve already discussed Marcy’s fear of puberty, which they might associate with unwanted sexual attention, sexual trauma, or dysphoria-inducing body traits.

The dual anxieties of mortality and puberty are united in the image of the butterfly, which symbolizes not only metamorphosis and change, but also (as any post–season 2 Amphibia theorist would tell you) death; and in the barbariants, who play not only the queen to Newtopia’s king, but also the fleeting individual lifespan to its timeless immortality. Female flesh, mortal flesh—for Marcy, it’s one and the same.

This duality is reflected in the Biblical story of original sin. For those unfamiliar with the myth: After God creates the universe, he makes two humans, Adam and Eve, and gives them free reign of the bountiful Garden of Eden (Genesis 2). The humans are allowed to eat from any tree in the garden (2:16), except the tree of the knowledge of good and evil (2:17). A malicious serpent tempts Eve to disobey this rule (3:1–6), who in turn tempts Adam (3:6). The humans previously existed in a state of childlike sexual innocence, “not ashamed” of their nakedness (2:25)—but after eating the forbidden fruit, they become able to conceptualize evil and shame, and they cover their naked bodies (3:7). For their disobedience, God casts them out of Eden (3:23).

The show alludes to this passage rather strongly with its inciting incident—Anne is tempted to disobedience and theft, with the music box functioning as the forbidden fruit, and then the friends are cast from the only world they’ve ever known: literally Earth, but also childhood, symbolized by the gated playground from which they depart (Amphibia 101b), and on Anne’s thirteenth birthday (120) no less, a cultural milestone for the start of adolescence—so I’m comfortable mining it for further analysis.

The myth shares with Marcy’s dreamscape a tight connection between sexual maturity and death. In forbidding the tree of the knowledge of good and evil, God cautions that “in the day that thou eatest thereof thou shalt surely die” (Genesis 2:17). He makes good on this promise after they disobey, cursing them with a mortal life full of struggle and strife: “In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return” (3:19). God exiles humans from Eden to make sure they stay mortal, for within the garden is a tree whose fruit grants immortality (3:22–23), and if the humans ate that, it would completely undo the whole dust unto dust punishment.

Marcy has a particular, peculiar concept of immortality: she wants to escape death by returning to a state of perpetual physical childhood. This helps to explain many of the seemingly arbitrary infant symbols which coalesce around her—zombies are babies because they defy the natural cycle of life and death; disembodied heads are babies because Marcy wants to decouple physical growth from mental growth, freeing her consciousness from the baggage of an aging, growing, sexual(ized) body; robots are babies because of her transhumanist aspirations—as well as Marcy’s affinity for those symbols, especially plants (210a, 215b, 216b) and robots (215b, 216a).[3] Deathless childhood is loosely synonymous with transmasculinity, and in particular medical transition, since sexless is loosely synonymous with male under the male = mind, female = body schema.

God leaves a flaming sword to guard Eden against the humans’ return (Genesis 3:24). Remember that Earth is the Eden from which the trio have been cast. Marcy tries to go back (Amphibia 220), symbolically signaling a desire for immortality—i.e., medical transition—and Andrias impales him with a flaming sword (220).

Answer #1d: Marcy is a victim of homophobic rape—sometimes called “corrective” rape—assault motivated by a desire to “fix” their non-normative gender identity.

Conclusion

Well, that was a lot. In lieu of a single overarching thesis, I hope this post serves as a more up-to-date record of how I’ve been thinking about the sexual violence metaphor built into Marcy’s character arc.

Some of the explanations I provided are mutually exclusive, but most of them aren’t. Marcy could be trans and a survivor of assault and generally uncomfortable with sexual attention and guilty about desiring Anne and Sasha. Or any combination thereof. Maybe she’s dealt with rape threats but hasn’t been assaulted. Maybe she was actually raped, but pregnancy is an unrealized fear. Or I’m wrong about everything.

In any case, there’s a lot that’s left unstated, a lot to be unpacked, and a lot that I’m probably missing. Further lines of inquiry that I’d like to pursue include:

Darcy as a twisted wish fulfillment of Marcy’s immortality fantasy: body no longer maturing (per the axolotl helmet), mind uploaded to the Core.

The justification for patriarchy written into the myth of original sin.

The “bad boy” comment directed at Branson in light of Marcy’s possible transmasculinity.

Marcy’s relationship to plants more generally.[3]

Heart as the severed bridge between mind (Wit) and body (Strength).

I might update this post if I turn up anything coherent.

Footnotes

[1] If Marcy’s fears are manifest in the butterfly, why is he so enthusiastic about dressing up as “the personification of metamorphosis” (219b)? Perhaps it’s the agency: choosing to roleplay as puberty and change allows Marcy to engage with those fears on his own terms, which is quite different from unexpectedly coming face-to-face with them while already anxious and scared.

[2] If it seems far-fetched to consider the Branson yonic, then contrast with Grime’s murderplant in 120, a “she” with a big ol’ phallic tongue (below). I don’t know what this says about Sasha or Grime, but the total reversal of it in 210a—flipping the gender from female to male, and the sex from male to female—lends a sense of intentionality to Branson’s design.

[3] Plants are the only baby symbol that aren’t explained by Marcy’s immortality fantasy, yet they play an important role—the central role, arguably—in establishing Marcy’s fascination with childhood. At a first guess, maybe plants represent a kind of “natural” childhood (born of earth and water, dying like the rest of us) which might not fit Marcy’s fantasy but with which they’re nonetheless fascinated? Anyway.

—

Credit to an anonymous AO3 commenter for the observation that Andrias' flaming sword might be a Biblical reference.

Amphibia citations are SEE, where S is season number and EE is episode number. a and b denote each episode’s first and second segments, respectively.

Biblical quotes are from the King James Version.

[torquesausage]

Just expressed a beetle shell through my fistula (which I thought had closed).

A year of hard work and diet (literally) down the drain, because I eat a beetle while sleeping.

[archive-of-the-guild]

@kugel-bitch asked:

"You have two of 'em? Show me!"

(Here's your horny angel lmao!)

It's not every day that an Angel of all beings wanted a look. Normally he'd be worried about whether or not she was going to chop it off..... Too bad he thinks more with his dick than his head sometimes...

He just kicks off his shorts and leans back in a seat, sheath and balls on full display.

"You want to see them? Get to work." The implication of what he wants her to do is clear.

[archive-of-the-guild]

Cali had Laila in a near bone-crushing hug with her face pressed to the sheep sinner's stomach. Laila herself was laying on her back and holding onto Cali, soothing the Imp as her body spasmed with the orgasm that overtook her.

She had never felt this sort of physical pleasure before. She had never felt the touch of another in such an intimate manner. Briefly, memories of the times when people tried to take Cali somewhere private flashed in her mind but those moments were immediately squashed by the shudders running through her body. There was no way they could compare to now.

Her breath and body were trembling and tears were falling unbidden from her eyes as she lifted her head to look back at Roako. He had just pulled his head away from her snatch and was watching her, rubbing massaging her lower back and ass while Cali calmed down. She saw the focus in his eyes directed at her. A hunger that both frightened and enticed her at the same time and, for the first time in her life, made her feel wanted.

Her body moved before her mind fully registered what she was doing. Spreading her legs and getting to her knees, she never breaks the hug with Laila as she presents herself for this man to take her.

He lines himself up and she feels the tip of one of those massive cocks. The feeling brings her back to reality for a second and panic flashes through her mind as she remembers just how big he is. Would it fit? Is it going to hurt? How much is this going to change her?! Cali wants to say something but Roako moves before she can get the chance.

Her gaze snaps forward, eyes wide and mouth open in a silent scream as she feels every inch push inside with practiced ease. Her mind struggles to catch up while her senses adjust to these new sensations but when they do, the sound that comes from her mouth sounds more like a groaning beast than anything. Her tense body finally relaxes and her eyes go half-lidded while Roako holds her in place.

He starts off slow, using his hands to hold her hips in place while he thrusts and sets the pace. Cali can't move. She doesn't WANT to move! She just wants more and Roako was all too happy to give it.

Time goes by, minutes turn to hours, and finally morning comes to find Cali being pounded and screaming in ecstasy like a seasoned whore. She lost track of the amount of orgasms she's had but couldn't care less as she feels another one approaching. Only this time, Roako was approaching his climax as well. Cali could feel it. His thrusts were fiercer, his cock was harder, his eyes screwed shut as his moans rose in pitch with hers.

He pushed as far in as he could go, stretching her more than he had over their entire romp as his knot swelled and locked them together. The feeling of his cum scalding her insides push her into her final and hardest climax yet, milking him for every drop he could give.

By the time she could think again, fatigue had overtaken them both as they moved to lay on their sides. Stuck as they were, Cali had no choice but to wait until Roako's knot deflated enough for them to separate. She didn't mind though. Laila on one side, Roako on the other, feeling warm both inside and out....

She had a feeling she was going to like living here.

[archive-of-the-guild]

Anonymous asked: Butt Plugs or Vibrators? (Karisa and Laila) _______________________________________________________

Lets Play A Game of This Or That? (NSFW Edition)

"....Vibrators. Plugs are nice and all but vibrators are better at scratching an itch whether you're alone or with a partner."

"I..Uh... ummmm............. plugs......" Roako has her wear them whenever she walks outside these days.

[archive-of-the-guild]

Smut starter for @chronicparagon

Roako couldn't remember when he had this much fun! The forest he and Harmony found themselves in was quiet and deserted, away from prying eyes and lit only by the light of the moon.

It was perfect!

It all started innocently enough of course. A small game of tag to pass the time and loosen up after getting out of Hell! But slowly it started to get more competitive and Harmony had somehow tripped him. He didn't know if it had been on purpose or on accident but either way it gave him an excuse to kick things up a notch.

That was when he decided to get rid of his clothes and get on all fours, tail swaying back and forth as he prepared to charge.

".....Run~"

[archive-of-the-guild]

[archive-of-the-guild]

@masquenoire asked: Let's Play A Game of This Or That? (NSFW Edition) // Edging or Multiple Rounds? Face to face or from behind? Cumming inside or Cumming outside ___________________________________________________________

Lets Play A Game of This Or That? (NSFW Edition)

"Hmmmmm....... I think.... Multiple rounds. Edging makes things more intense but after a while, my instincts overrun my reasoning. Far more than having my partner challenge for dominance does. The need to breed makes me go wild and, in extreme cases, black out so i only remember bits and pieces. It's fun for my partners if a little dangerous but i'd rather be in control."

"Face to face! It can be a little nerve wracking when you aren't looking at your partner but being face to face makes me feel more secure! I know that if i wasn't at least looking at Laila when i spent the night with her and Roako, i probably would have backed out..."

"If you're going to put in the effort, then it only makes sense to cum inside! Pulling out just makes a mess that doesn't get taken into account until AFTER it's made!"

[archive-of-the-guild]

"Could probably go for an old-fashioned hatefucking with a Goetia.... Have them leaving feeling satisfied and dirty at the same time."

[archive-of-the-guild]

I meant to do it last week BUT!!!! BY POPULAR VOTE!!!!

Roako now has a sheath!

AND ALSO!!!! BY FRIEND RECOMMENDATION!!!!

The dragon man now has TWO dicks!

He's got two of these! Have fun with that!

[archive-of-the-guild]

"You ever have the urge to find an innocent virgin.....someone who's so pure that the mere thought of seeing someone naked turns them into a gibbering mess....and just completely destroy them? Just wreck them for days until they can't think and believe you're their everything? .......That would be fun...."

[archive-of-the-guild]

@sinful-souls asked:

When horny, Evoline emit certain scent. Female's emit spice like scents while the males smell like some kind of food in general.

Azura, an Evolinaa, is currently horny. An alluring, sweet scent akin to sugar, is being emitted from her as she trys to take the edge off the horny via self pleasure. Is she going to seek out someone to help relieve such? No, since she really isn't in a leaving the house mood today. So she's nested away somewhere in the house being quite while she self pleasures. _____________________________________________________________

"....Why does the house smell like sugar??" And it did! A weird scented mixture of sex and sugar permeated everything! At first he thought it may have been Laila doing some baking or something but she was passed out on the living room couch recovering.

So where was it coming from?!

Searching throughout the house, he was having trouble finding the source of the smell. There was nothing in the living room or the kitchen. The bathroom was empty but the smell was steadily getting stronger. At this point he was just following his nose and it was steadily leading him to the master bedroom. HIS room!

The scent was overpowering and it was practically making his mouth water as he got closer to the door. He had never really been one for sweets but this a welcome exception.

He doesn't bother knocking and opens the door to enter (Why would he knock? It was HIS room!) and was met with a surprising yet welcome sight.

"Well what do we have here?"

[archive-of-the-guild]

@the-blackened-dove​ asked:

There was something about the way that Roako held her down that made Roxxy feel so.. safe.

Oh he was ruthless, sure. He rarely held back for her in the bedroom, because she could take the pain. She could handle the savagery of a wrath demon's lust. But as ethereal as the ecstasy of his dimination often was? 

This... 

 Hands tied above her head, legs pinned open by his firm hands, body completely at the demon's mercy? 

 She was already in bliss. And he hadn't even gotten started. _______________________________________________________________

Normally, Roako would be absolutely feral at the sight of this meal before him. Tonight however, he wanted to savor this... Keeping her ankles around his shoulders, he kneels over her to bring her face to face. 

He was being uncharacteristically gentle for the most part! Of course, the night was just beginning and he had every intention of absolutely ruining her for anyone else. He just wanted to take his time doing it~

The rumbling in his chest deepens as the kisses start. He may not have had a normal mouth but the little nips and licks would serve just as well. Down her body he goes, hand and mouth working every inch of her to heighten her arousal and pleasure for several minutes until he finally makes his way to his prize.

It was time to dig in~