#the Fighting Cocks

[emmcfrxst]

jason todd swears like a sailor whenever you ride him. the visual of your body on top of his, the feeling of your hands on his chest and your cunt fluttering around him, the sweet sounds of your moans and mewls— everything about getting ridden makes jason’s dick hard and turns his brain to mush

[your-fuccked-up-dad-volume61]

The urge to kidnap her & rape her in the woods. Chained against a tree & split open on my cock. The screams in pain drowning out all the pathetic cries for help. Carving our initials inside of a heart on, “our” tree afterwards so everyone knows what a sweet couple we are. 🔪🌹

[bodega-catto]

[celtiberian-idiot]

[prickly-paprikash]

Something cool about Blue Eye Samurai is how sex is juxtaposed with the end-goals.

I really love how our three protagonists are all obsessed. And that obsession defines them, torments them, and are subsequently reborn through their obsessions.

Mizu, of course, is obsessed with the concept of revenge. It's not even about getting even or getting justice as some might use to justify the bloody road taken—it is simply about seeking satisfaction for Mizu. She cuts a bloody swathe across Japan because of what the Four White Devils did to her mother and herself. She does not concern herself with the ramifications of her wrath but merely charges forward, leaving behind a trail of viscera and gore behind her.

Like I said before, her vengeance and obsession with satisfaction is not painted by the show as wrong. It is how she allows it to affect others along the path. It's why the episode with Madame Kaji is so enlightening; Mizu should not tackle this quest as a vengeful revenant; an onryō. She has let the world define her as a monstrosity and so she embraced it, when Swordfather and Madame Kaji knew what the correct path was to satiate her need for vengeance. Treat her sword as the Artisan's tool it truly is. Treat her body the way an Artist would treat their canvas.

Madame Kaji and Swordfather are both outcasts, for being a woman and a blind man. Yet they found strength in their exclusion, becoming single-minded in their fields of art. Because sex is art and swordsmithing is art. It's what makes Mizu's body writing scene so fucking good.

Artistic vision becomes stagnant when one pulls from only one source. They become rigid and unbending when Mizu, like her namesake, must be fluid. She has shown fluidity in her use of her gender and her morals, but cannot apply that same flexibility towards her goal. Throughout season one, she was becoming an uninspired artist, merely painting the world in hues of scarlet. In a world that forces Women to be either Wives or Whores, Mizu chose to be a Warrior—but a warrior fights for a cause, whether it be just or otherwise. A soldier fights in an army. Mizu is neither of these things. She is an Artist first and foremost, and her medium is Death. Sex, something Mizu was at first hesitant before her failed marriage, and something she actively avoided afterwards, is what gives her a new perspective. Like an Illustrator studying life to better draw their intended worlds, taking inspiration from wherever one can find it.

Taigen and Akemi are also equally affected by the artistry of sex, as befitting of Mizu's fellow protagonists.

Akemi is quite obviously Mizu's narrative foil. Mizu chases after revenge like a bloodhound whereas Akemi longs for freedom like a bird in a cage. Both are fierce women who are unsatisfied with their lot in life, with their sex and gender being used against them in their lives. Literally, the episode "The Tale of the Ronin and the Bride" is a fucking triple entendre:

Mizu is the Ronin as well as the Bride.

The play showcases the tale of the Ronin and the Bride.

It is also Mizu as the Ronin and Akemi as the Bride.

And when Mizu finds her center as she melts down her blade and engages in body writing, this scene of enlightenment is juxtaposed with Akemi laying with her new husband Takayoshi. Both, in this moment, are taking control of their lives through sex. They are both taking control of their futures through the ways Madame Kaji taught them. Mizu and Akemi are both rebels against this oppressive society, and are both talented artists with their body. Whether that be sex, politicking, or ass-kicking.

Taigen, like the two women before, finds freedom through it but in a more subtle manner.

Where Mizu and Akemi are narrative foils, both using sex as a form of art and escape, Taigen finds liberation through his awakening.

Like the closeted bisexual man he is, he begins his journey of self-realization when he first encounters Mizu at the Dojo.

Every single battle these two have is purposefully rife with sexual tension. All his life, Taigen has been taught that a man must live with honor. That he must take control of his life and his identity, or he will have failed and that he is better off dead than to live with such shame.

Taigen is just as much a victim of the Patriarchal society around him. Mizu rails against it violently. Akemi seeks to run away from it all. And Taigen, with the privilege given to him by his manhood, chooses to become a perpetrator, enabling the vicious wheel of society to keep moving forward.

His obsession with honor leads him to hunting down and even protecting Mizu. Mizu is no doubt the better warrior, but even she knows she owes so much to Taigen. The blockhead not only did everything to protect her in the valley, but also sealed his lips shut even under the duress of torture. His obsession with honor becomes an obsession with Mizu.

His regrets over tormenting her over her looks and ethnicity as a child. His shame in having lost so decisively in his own dojo. Taigen was a man born with nothing and climbed up to the top with every advantage he could muster, and suddenly it's all ripped away by this one vengeful spirit passing by.

Taigen learns to surrender control around Mizu. He begins to discover his own sexuality and purpose around Mizu, redefining what honor really means to him now that he, as a man, has a budding attraction towards the man who beat him.

Mizu's Vengeance. Akemi's Freedom. Taigen's Honor. In all three, Sex becomes a catalyst in redefining what each of these concepts truly mean to them all. It's not just sex of course, but it is undeniable how the writers keep juxtaposing sexual acts and thoughts with massive character moments.

It changes how Mizu chases after her Vengeance. It recontextualizes how Akemi can be Free. It showcases the absurdity of the Honor forced upon Taigen.

It's so fucking refreshing seeing Sex not used as fanservice or shoe-horned in just to further a stale, poorly written cis-heterosexual romance; but used as a plot point that cannot be ignored. An impetus that fuels the narrative.

Moving forward, I'm curious as to how sex will be used.

The next few ideas aren't as sound or organized because I'm neither Asexual nor Genderfluid, so please if anyone reads this who understands it better, feel free to point it out.

I think it'd be cool if Mizu met the inverse of Madame Kaji. A person who is apathetic to sex. Sure, Swordfather has shades of this, but I'm tired of the person with disabilities also being on the Asexual spectrum. And I'm not saying that Ace or Graysexual people with disabilities don't exist! But they always tend to be written as having some form of disability (Varys from ASOIAF) or a Robot.

Just as artists need a variety of sources to pull inspiration from, I hope in the next seasons we get to see different perspectives on sex and gender. In London, it feels like Mizu finding the other half of herself, and with that having a better way of tackling her own identity. Whether it be gender, sex, combat, etc.

Basically what this inane rambling amounts to is that Blue Eye Samurai tackles sex and violence and revenge and obsession in ways that most media has yet to truly do. So that was pretty cool.

[kanakori]

there should be a feature length gay porn parody of fight club where only the fighting scenes are changed into sex but the rest of the script is the exact same

[kingkatsuki]

More fic ideas that I have absolutely no intention of writing.

Knight Bakugou who’s positioned to guard you. The King wants the best to protect his Princess, and Bakugou is the best. Besides, it’s not like the man had a choice, he doesn’t want to lose his job— or his life.

You hate to admit that Bakugou is good at his job, much better than the men that had tried to guard you before. Making it difficult for you to sneak out into the gardens in the evening to watch the stars, or to sneak into town for the weekend festivities.

You should hate him for ruining the routine you’d managed to work yourself into over the years, for stealing away the freedom that you’d rewarded yourself when no one else would offer you the same luxury. But somehow you can’t force yourself to dislike him, there’s something behind his cold and brash personality that has you inquisitive to find out more. Enjoying trying your best to rile him up or push his buttons— spilling your evening tea over his pristine boots, or dropping your towel in front of him when you prepare for your evening bath.

Knight Bakugou knows exactly what you’re trying to do, and he’s determined he won’t fall for your tricks— which is why he’s just as surprised as you are when he finds himself outside with you past curfew in the castle grounds watching the stars. But instead of staring up at the gorgeous night sky, he finds himself turning his head to the side to see how the moonlight glows against your skin. It’s just another thing that has now woven its way into your daily routine together, and as he walks you back to your quarters each night you like to fool yourself that it’s because he wants to, not because his life depends on it.

It isn’t long before the King begins to bring in suitors from neighbouring towns to vie for your hand in marriage. None of which are out of love, but a necessity to strengthen alliances between armies. Which is why it doesn’t matter if you even like any of them, because the choice won’t be yours. The men are scheduled to fight for your hand, and as you sit and wait for them to joust you notice Bakugou clad in full metal armour across the field.

The King positioned him as his strongest guard— because he is.

A man worthy enough to beat his strongest soldier is a man worthy enough to take his daughters hand in marriage. And yet as you watch every man come head to head with Bakugou he beats every single one.

And you think Bakugou has just beat these men because he wants to show how strong and powerful he is, but secretly it’s because he’s so in love with you.

You can’t tell whether your father is proud or annoyed at the fact, especially when Bakugou knocks the son, young Midoriya, off his horse. The man that you believed the King wanted to you marry, the most suitable alliance available.

It’s a few weeks later when Bakugou is sent away on a mission by the King. The head of an army sent out to pillage a neighbouring village who threaten to compromise the power of you’ve forged.

The morning he’s scheduled to leave is the first time he lets you kiss him, he lets you get that close. As though he’s wondering whether he’ll even return home himself. Standing in his quarters in the lower part of the castle, clad in your pyjamas and your feet freezing against the cold stone as he cradles you in his arms. Pouring every ounce of emotion into the kiss as he finally allows himself to have you, even if just for a few selfish moments. Bakugou reckons it’s worth the risk of dying, to feel your lips on his again. A fellow guard, Kirishima catches you both as he takes Bakugou away from you— watching them ride off on horseback as you still feel the warmth of him surrounding you.

You stay awake each night wondering whether he’s even still alive too— whether you’ll ever see him again. The new guards are just as useless as before and you find yourself longing for his safe return.

It’s two months before your father has another man lined up as a potential suitor. Wondering who might fight for your honour now that Bakugou is gone, but you’re shocked when the King says there’s no need for such friviolity. That the wedding is scheduled, and it’s the right reason to strengthen the Kingdom. It’s not for love, it could never be when your heart belongs to Bakugou.

And even if you told your father about your feelings for his guard, it would be issuing Bakugou his own death sentence if he even managed to make it home at all.

But fate really can be a cruel, fickle thing— and as fate would have it Bakugou returns home the day you’re standing at the altar wearing a pretty wedding dress like you’d dreamed about, while you’re waiting to be betrothed to another man.

[wifeyoozi]

Just your one boyfriend flirting with your other boyfriend leaving wrecking you head to toe on a random Tuesday night 🩷🫶🏻 (read tags for smut mini scenario)

[sillyfeelings]

Naughty thoughts

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Why no small cock appreciation hmmm?? why no boyfriend here to coo at and kiss my little hard dick??? Like no I can't really fuck anything with it, but it's cute??? isn't that the part that counts??? And I can hump it's thigh or hand or a pillow and it will get all hard and achey and wet, just need my partner to tell me they think think my little cock is cute and tiny and they like that, that's all

[meatexe]

what does a boy have to do to be on the verge of alcohol poisoning n in the hands of a irredeemable sadist w zero self control. lmk

[rushingheadlong]

You know something I don't think I've ever seen people talk about is how Freddie changed the lyrics for Big Spender.

Because in case you don't know, all original versions of the song are sung by women - and it is made very clear that they are singing to men:

The minute you walked in the joint I could see you were a man of distinction A real big spender [....] So let me get right to the point: I don't pop my cork for every man I see Hey, big spender Spend a little time with me

Probably not too surprising, then, that when Queen performed this song in 1974 Freddie had to do a bit of a gender-switch on it:

Though, it would probably be more accurate to say that Freddie made this song gender-neutral because he didn't change it to be about a woman. He eliminated the first use of "man" entirely and then sang "I don't pop my cork for everyone I see" (instead of "every man").

And honestly there's probably a whole dissertation you could write just about those changes alone, but what I really love is when Queen brought the song back in 1986 and Freddie changed the lyrics again:

Because yes he still dropped the first "man" but the "everyone" is changed and Freddie instead sang "every guy" with just the barest hint of a "-rl" sound at the end to give him plausible deniability if anyone asked about it.

So much of Freddie's music speaks to his experiences as a queer man but, because of the nature of the times in which he lived, he couldn't always be directly open about that fact. Most of his love songs are intentionally vague, and he sang about "somebody" or "you" to avoid having to use gendered terms as much as possible.

Freddie singing "I don't pop my cork for every GUYrl I see" wasn't just an adjustment to the original lyrics, it was a specific change from how Freddie had sang it before in order to make it more gay in a way that he could rarely be with his own music, and that is what I adore about this. It's such a little thing, but it gives such a unique insight into how Freddie balanced his sexuality and his stardom, and how the relationship between those two changed over the nearly 12 years between these performances.

[kawaiiers]

Enemies to lovers

[weast-of-eden]

i don’t know why but to me this conversation reads as:

watson: but holmes, cockfighting is illegal!

holmes: and what we have going on is sanctioned by law? watson please be fr rn.

chat am i crazy or valid please

[cuntdestroyer3000]

I love how sexualized Wolverine is. Like oops he’s naked again🤭

Like I’ve watched days of future past and origins and THOSE SCENES???

[angelthemanspanker]

If Buffy found out Angel kicked out Connor she would also be told why and, I think, maybe cut Angel some slack. I don't believe Angel throwing out Connor was, in fact, the same as Joyce throwing out Buffy. There is a quick, easy-to-miss scene towards the end of Angel season 3 that supports this viewpoint, one where Connor throws Angel in the ocean in a box with the intention of leaving him there forever to shrivel up in eternal agony and insanity

Now Buffy might have done that to Joyce at some point tbf it's been a while since I watched the high school seasons but I feel like maybe there's a difference between removing your extremely strong and dangerous son, who tried to put you in the Torture Nexus last time you saw him/the surface world, from your home (AND with an important "You can't be here yet" attached), and telling your daughter that if she leaves she can never come back because you demanded an explanation and then refused to accept the truthful one she gave you even though she's saying she slays vampires and thirty seconds ago you saw her slay a vampire.

Just because two scenes would look real symmetrical if you put a few lines out of context next to each other in a gifset does not the same thing make

[astronomodome]

Was thinking about the hermit mad science brigade today (as one does) and I have come to the conclusion that cub doc and zedaph would all manufacture hrt for a low price BUT it gets popular enough that they all have to add on stuff so people will buy theirs instead of the others’. Doc’s hrt gives you sickass goat horns, zedaph’s makes you bioluminescent but it also has like a 2% chance of turning you bright purple, cub’s just fully transitions you instantly but it also makes you evil (he markets this as a plus) (because it is a plus)