#that's all...bye

[lazy-blue21]

[onlylostphysics]

Edward “Guess I’ll Die” Teach

[frightshack]

found out in the lemire run matt is canonically jake lockley's lawyer and subsequently lost my mind

[slashermary]

when dean and castiel supernatural have gay sex it’s so good it makes dean cry

[iheartbookbran]

“And it is not far enough!”

“Do you think there’s a corner of this Earth that you could travel to far away enough free me from this torment?”

“[…] that honor is hanging by a thread that grows more precarious with every moment I spend in your presence”

“You are the bane of my existence”

“And the object of my desires”

[obsob]

my horrid large cat keeps running upstairs and jumping on my bed

[velomono]

[relxion-kunp]

It's new year and Itto Haver choose violence. 😊🎊HAPPY NEW YEAR!! 2022

[dindjarindiaries]

The Mandalorian #1: Variant Covers

Artists (in order): Stephanie Hans, Jan Duursema, David Nakayama, Dan Panosian, David Baldeón, InHyuk Lee, Mike Mayhew, Rickie Yagawa, Sara Pichelli, Alex Maleev

[kitamars]

burning holes

[kakenaku]

HAMBIE

[rindousmuse]

dilf!deku who is quick to help when he bumps into you carrying far more grocery bags than it looks humanly possible, taking some of them (most of them) off your hands so you can unlock your apartment door, smiling as you laugh out a bubbly thank you before taking them back.

dilf!deku who seemingly bumps into his sweet, young neighbor more and more as he comes home from hero work, beaten and bruised and sore as he trudges up the stairs. he doesn’t dare tell you he’s so tired he can’t really follow along to what you’re rambling as the two of you stand out in the hallway. (or that he can’t seem to focus on anything but your mouth).

dilf!deku who, admittedly, becomes a little bolder when it comes to you, making up in the confidence that you lack, covering up your naiveness with his experience. and invites you over to dinner when his daughter goes to stay with uncle kacchan for the weekend.

dilf!deku who stares at you with a soft look in his eyes and a gentle smile on his lips as he listens to you talk over said dinner. who keeps leaning forward to refill your wine glass, tells you how mature you are just to see the way you wave him off with that cute flustered expression.

dilf!deku who is a tad clumsy and a bit caught off guard when you tell him you don’t want to go home yet—as if it isn’t just four doors down the hall—shakily catching your stumbling figure as you lean into him and feel over his muscles in a way that has his ears burning.

dilf!deku who wants to cry when he has to shove you off of him because you’re drunk and if his hero morals weren’t enough to convict him his parental ones are. he leaves you in his bed and goes to sleep on his couch—but he can’t fall asleep until he jerks off to the thought of your hooded eyes and tilted lips.

dilf!deku who is startled when you corner him the next morning, pouting up at him in the kitchen, asking him if he really liked you or not because how dare him leave you alone in bed last night. he splutters over the explanation, large hands whirling in front of him, cheeks so hot he thinks they might just catch fire. he doesn’t get far, a few garbled sentences in, and then your soft lips are pressing to his and he’s forgotten any and all thoughts he was trying to push out before.

dilf!deku who now that he has a taste of you just can’t stop, and finds himself knocking on your apartment doors at ungodly hours after his daughter’s fallen asleep just to see you, kiss you, touch you. he’s not felt this need in a long time, this desire for someone else, and you give him a run for his money with that sweet spunk, so full of life. it’s like a drug to him.

dilf!deku who finally can’t take it one night, all wound up from a villain bust, and doesn’t even wait for you to greet him before he’s shoving you into your apartment, picking you up and pressing you to any surface he can find. a mantra of “sorry, sorry, so sorry” spilling out of his lips as he rips your pants, your shirt, any article of clothing separating the two of you. he has you laid messily on your couch, panting when he finally pulls back enough to look at you, and he knows he’s absolutely screwed.

dilf!deku who cannot shut up once he gets inside you, every rut of his hips drawing a heavy groan, moan, curse out of his lips. “fuck, you’re so good, so good” and “perfect pretty baby, god” and “that’s my girl, shit—you’re killing me.” all bubbling out of his mouth like he can’t stop it, and with that wild look in his eye—so enveloping and loving and warm—you don’t think he can.

dilf!deku who begs and begs and begs as he gets close, large scarred hands cradling your face, hot breaths against your lips, if he can just cum inside, can’t help it, need to fill you up, need it so bad. and it looks like it’ll kill him if you say no, so you nod, mumble a yes and—god, the way his hips suddenly snap so hard and fast has you seeing stars. it’s so dizzying you almost don’t hear the “what a fucking good girl,” murmured into your hair as you take it.

dilf!deku who after he has you, really has you, can’t seem to let you go. he’s gone totally love dumb, drawn out kisses and rushed quickies and sending his daughter over to katsuki’s more and more because he just can’t get enough of you.

dilf!deku who thinks you might just make him a daddy the second time around, and he has absolutely no complaints about that.

[essektheylyss]

One thing I love about the unedited actual play format (and specific to Critical Role, since that's the primary example I have) is that you get to see how characters end conversations.

There's common writing advice which is particularly prevalent for screenwriting, and extends to prose circles as well, which is, "Get in late, and get out early." With scripts, you have limited (and usually pretty regimented) lengths of time to tell a story, so you can't linger in a scene unless it's doing something for the story.

Not only do these time constraints not exist in this show, but the scenes also must be played out to their end. There is no cut until the break or the end of the episode, and those cuts are never going to come in until the players say, yeah, we're done. If a player starts a conversation, a scene, they have to finish it, and I think how they do that can say a lot about a character, and it can also have an impact on relationships as well.

The example I was thinking of is how awkwardly a lot of conversations between Beau and Caleb end—and it's very characteristic of them! They're both characters who want the last word, but neither of them are that good at taking it.

(Contrast that with Fjord, who, when he wants the last word, he has it, because his communication skills are miles above either of theirs. But he doesn't always take it—and he's also much better at leaving conversations gracefully and quietly when he chooses to.)

So you get some really iconic moments that actually do a lot to cement Beau and Caleb's relationship; several awkward hugs come to mind, as well as Caleb storming off and Beau yelling after him. That particular scene lasted much longer in game than it would if it was a scripted medium, and it's a very funny scene ending.

These are things that are still cited as very fundamental examples of how their relationship has evolved! And I'm other mediums, you probably wouldn't get that, and it's a very fun change of pace from the current media landscape, in which quippy, snappy one-liners have gotten increasingly prevalent as scene endings.

I think it's a great example of how storytellers can use a format to their advantage, and just one small detail demonstrating how much the differences in format can alter how a story is conveyed.

[mushroom-winners-proof]

Eraqus Calls Xehanort Dumb Nicknames part II

bonus:

[biggest-gaudiest-patronuses]

Parasocial relationships aren't inherently unhealthy. Usually, they’re a perfectly normal and healthy way to experience media. You know what are examples of parasocial relationships?

Kids dressing up in costumes and pretending to be the sidekick of their favorite superhero.

Teens daydreaming about hanging out with members of their favorite band.

Adults reading a funny memoir and finding they now feel positively and care about the wellbeing of the person who wrote it.

Sports fans celebrating because their favorite team won a championship.

Watching a talent show and cheering when your favorite performer wins.

These are enjoyable and typically harmless experiences. Because relationships (parasocial included) are not inherently healthy or unhealthy--it all depends on the parties involved, and the behavior on both sides.

Parasocial relationships become unhealthy when we as audience members over-invest emotionally, fail to set proper boundaries, have unfair/unrealistic expectations or make intrusive demands (for individual attention, for emotional reciprocation, for the other party to serve as a best friend, a lover, a savior, a therapist), or engage in harassment when these expectations are not met. Or, alternatively, when the person/group/corporation on the other end misleads their audience, or uses their influence irresponsibly or exploitatively, or makes promises they cannot follow through on.

Unfortunately, we are seeing a rise in most of these things, in part because the way we consume media has changed very very quickly, and we as a culture have not had enough time to react sanely to these changes and establish healthy behavioral norms around them.

Many of us are struggling with how the illusion of intimacy has hyperevolved—the faces we once saw only on theatre screens and magazines, celebrities who were so removed from us by distance and medium, are now on our phones, in our homes, sharing their private lives with us in previously unimaginable detail. Instead of scripted interviews & crafted photoshoots, we get casual selfies & tweets & constant updates about their clothes & food & activities & private lifestyles. We get videos of celebrities talking to their camera (to us) directly from their own home—as if we are being invited inside. All of this happening on the very same social media platforms and in the same language we use to communicate with friends. Of course our brains are going to get confused, especially if we haven’t been taught how to draw the right boundaries when it comes to watching people in the spotlight.

And most of us haven’t.

Which leads us to what I think is the real problem—not parasocial relationships but Celebrity Culture. This whole culture we’ve been building for decades around inappropriate and invasive interest in the private lives of public figures. Celebrity & paparazzi culture has always encouraged deeply unhealthy patterns of behavior, and it’s been around a lot longer than the internet. But the attitudes it embodies have become the basis for how we treat and think about “famous” people online, and for the shape that parasocial relationships take in the social media age.

The problem isn’t that we’re forming parasocial relationships. Humans will always form parasocial relationships. Jesus christ, religion itself probably fits the definition of a parasocial relationship—what is more parasocial than inventing a god? The problem is that we are forming these relationships without a clear understanding of what constitutes healthy boundaries, reasonable expectations, and appropriate behavior, on all sides. Form as many parasocial relationships as you like, but figure out how to keep them healthy. Manage your expectations, be respectful of privacy, be aware of when you are becoming too involved, know when to step back, and don’t expect it to take the place of interpersonal relationships—your relationships with people who know you exist, and want to reciprocate your time, energy, and interest.

ko-fi

[obsob]

oh potatus et molassus etc etc