#this is a longboi

[thelastsaiyanprincess]

always been curious abt this in general !! what is it abt tkl kink that draws you into it? i luv learning abt new kinks n why some people are into them ! <3 if u dnt wanna answer tht's okay u can delete this <3!

i am suddenly sosososo shy so im gonna answer under the cut.,,....

to begin, it's really more of a fetish for me because i have a super tough time climaxing without it! its practically hard wired into my brain and there's soooo much i luv but i'll share my fave things!

• i like the feeling/sensation of being tkld, its like experiencing physical giddiness and excitement. i literally feel addicted. i could lay there and take it forever and ever if only it didnt wear me out so much skfhdj

• i like that it's something that only someone else can give to u. as if its sole purpose is to bring us closer 🥹

• i like how excited yet terrified i feel when someone discovers i'm tklish, especially if they ALSO get excited about it! it's like a rush of adrenaline!

• i like that it forces me to let loose, to react in a wild and uncontrollable way and just surrender to my body's urges without overthinking or putting on a performance

• i like the idea of someone knowing my weak spots. i like that it requires exploration of the body. it feels very intimate, especially because most of my hotspots are places only lovers would touch!

• i like it as a form of physical affection, like when someone just wants to see you smile or hear your laugh, or they do it just cause they know you like it!!! eeeeeeee!!!!!!!

• i like how it feels so errogenous!! i get turned on so easily just from a lil bit of it skdbdjs

• i like being teased/lightly humiliated for it! not in a super mean or degrading way, but playful fun! tkling is such a silly kink/fetish, i kinda HAVE to make fun of myself for liking it lolol. and when ppl tease me about it, my head starts spinning and i feel lil hearts floating around fkshdkf its just GOOD ok

• i also like knowing other people's tklish spots for the same reason!

• i like seeing people squirm and thrash just from a few light touches! i like hearing people beg for mercy! i like the sound of frantic laughter and the struggle to form words! im a huuuge lover of reactions in general and tkling someone is one of the best ways to get them!

• i like dominating ppl with tkling, esp if theyre taller and bigger than me! its SO HOT seeing someone else melt in your hands or be broken down by a gentle touch esp because i'm so small! but this is the power i wield! very few things are hotter to me than domming someone w tkling!!!!

• i like laughter!!! cant say it enough but its one of the hottest things about tkling!!!

i know that was long but i hoped i shed some light on it!! 🤍

[sakokii]

bookwyrm 📚

(art trade for @surulaulu)

[janerintaro]

The boiled one is creepy and all. But one thing completely ruins it for me

IT LOOKS LIKE THAT FUCKING CAT

[bydusklight]

they're ✧･ﾟ: *✧･ﾟ:* like that

[one-bunny-a-day]

03/11/2023

[catkibbleeater]

THE GOOBAS!!!!!!! i cried multiple times while drawing this because FUCK FRAN BOW JUSTTT IS SO URGHHGFDA UGHFFi love them

i never draw backgrounds or atmosphere yk so this was good practice lol!!!! it took foreva

[shaydh]

I started following you for your Warhammer stuff, so, ask is; "Why is your favorite faction so compelling to you?"

My favorite fantasy faction is Dark Elves, because they are pointy backstabby edgelords and I love characters like that. And the entire reason I got into warhammer at all was because I read a Malus Darkblade book and I love a good villain protagonist, i love reading about The Worst Guy. Also the thing I like about druchii more than drow is they’re very long.

[kronchonmylonch]

To the 2021 graduate who made long furby into fine art, thank you.

Found at the Gallery of Modern Art, Brisbane

I just know you’re some tumblr kid who bullshitted a meaning behind this an excuse to make a long furby for your senior project… and I love you

[bokureii]

Long boi Veit

[blmpff]

THOR THINNAPHAN 09.11.23

[gnomeniche]

director, writer, actor: dhmis's students as creatives

hey guys. i would like to propose the idea that the three protagonists of dhmis represent different creative roles involved in the production of television. red represents a director, yellow represents a writer, and duck represents an actor.

this theory is somewhat similar to the "generations" theory, but with creative roles instead, as both are more fun lenses to look at the three through than actual theories about the future or past of the story. i am not saying that they are LITERALLY these roles (F*LM THEORY DO NOT INTERACT).

but! by looking at the imagery associated with them and what the former two found when they breached the reality of their world (in webseries and tv show), i can make a case for the idea that they REPRESENT them.

(i originally floated this idea in this post, where i said it was extremely underbaked, but i am baking it Right Now. it is occupying my brain and i am obsessed with it.)

the director: red and the tv machine

in the webseries, red discovers the nature of their reality by accidentally stumbling into a set-version of their kitchen and seeing the cameras that film their world. when he breaches reality in "dreams", he finds a "tv machine" made of screens showing the world he once lived in. he finds that he can edit aspects of the world when he messes with the machine, swapping out characters and setpieces, one which is the idea he floated earlier in the episode.

red’s version of the “backstage” is electric, filled with glowing screens and machinery. this and the imagery of screens, sets, edits, and cameras bring to mind a director. red's phone motif could be read as relating to the need for directors to arrange and communicate with every piece of the production, and he literally moves things around the set in production on the machine. the higher power he discovers is roy, often interpreted as a producer, who directors work with to get productions made.

what does red want? he's sick of his awful reality. he wants something nicer, something he can control, something that isn't here. you could say that he wants a change of scenery. or a Scene Change, as it were. he wants to decide what he gets to do, and if he isn't given something to hold his interest, he re-Directs the episodes in his attempts to leave. he discovers their reality while searching for an alternative route in the "computers" lesson, and he hijacks the "transport" lesson to escape.

he has a minor association with ears, as an ear was taken from him in the kickstarter videos, and what is a phone but another way to listen? read alongside his desires, he ultimately wants others to “Listen To Me.” a director’s job is to give directions and make decisions by hearing out collaborators’ feedback.

the world the three of them live in has an interest in crushing each of their specific kinds of creativity, so despite red's inclinations, he is not able to direct anything. he has been assigned the role of "the apathetic one," or the one who does not make decisions or visualize anything more. even outside his role, red's trauma from the lessons leads to him being reluctant to speak about what he wants, so he often remains silent about his desires until he cannot help it anymore. but when he tries to assert his will, everything tells him he is wrong for doing so. the world shows him that all he will find if he tries to make his own decisions is nothing new or interesting, just bleak hopelessness.

in "dreams," red's failures in the "real world" are because he cannot convey his ideas alone. he has plenty of ideas, sure! but he has trouble solidifying them into words and performing them well. when he finds the media machine, he is restricted in what he can do by the "scripts" and "actors" he is given by the show. a director can be as inventive in his craft as he wants; without a script or actors to work with, his ideas are mere shadows.

the writer: yellow and the show bible

in the tv show, one of the first things yellow does on new batteries is discover the sigils seen in the background throughout the show and on lesley's book. he writes in the language composing their world. when he breaches reality in "electricity," he goes up through unrealized future ideas for the show and assists lesley, the "showrunner," from whom he receives a "show bible."

yellow’s version of the “backstage” is organic, filled with music and art. this and the imagery of books, writing, ideas, and symbols bring to mind a writer. plus, yellow is the most artistically adept of the trio, shown by his clown painting, trumpet-playing, and entire cast of imaginary friends. this imaginative streak lends itself to writing fiction. the higher power he discovers is lesley, often interpreted as a showrunner, whose ideas show writers must attend to.

what does yellow want? he's shown to be the most interested in the lessons, and what he wants when he gets his batteries is to know more. he's hungry for new ideas, and he's dissatisfied with pointless learning. the point he wants, since he begs to stay with lesley, is to get to create. he wants to learn from the writing around him and then try it himself. it's just that his lack of batteries prevents him from thinking. a blocked writer, so to speak.

he has a minor association with hands, as a finger was taken from him in the kickstarter videos and his hands often get messed up in the show. read alongside his desires, he ultimately wants others to “Make Things With Me.” a writer’s job is to use their hands to make ideas into something solid.

the world the three of them live in has an interest in crushing each of their specific kinds of creativity, so despite yellow's inclinations, he is not able to write anything. he has been assigned the role of "the stupid one," or the one who never thinks about anything or comes up with anything new. even outside his role, yellow is quite literally prevented from thinking, reading, or writing by his corroded batteries, so he tries to be creative in any other way he can. but when he tries to do anything artistic, everything around him insults and destroys his efforts. the world tells him that his desire to create is pointless because his ideas are worthless.

in “electricity,” yellow's failure to inform his friends is because they do not take him seriously. they ignore what he wants to tell them in favor of their priorities, and the "show bible" is rendered something shreddable. one of a writer's greatest challenges is getting people to care about their words. if directors or actors fail to take interest in their writing, the script may as well be garbage.

the actor: duck and the viewers' eyes

so where does that leave duck? he has not had an episode where he (successfully) breaches reality yet (RIP webseries duck, 2011-2015), but i can still make the case with what we have that he represents an actor.

throughout the tv show, duck makes the most of his roles unless they conflict with his preconception of what is supposed to happen in the episode. he is enthusiastic about "jobs" until it seems like the lesson has been thrown off, at which point he is stubborn about returning to the earlier script. in "death" and "transport," he adapts easily and with a sense of humor to the role he is given. if he's dead, he's dead, but that doesn't mean a character like him can't annoy the reaper! if the lesson was on transport anyway, there's no trouble with going along with the road trip escape, as long as he stays in-character! he manages to twist his part in new directions without technically straying outside the role and provoking backlash from the world. (and even in "death", he was killed. but he became his own replacement anyway, so it was... fine?)

close attention to the script that you were given, as well as using interpretation while still playing the part well, are qualities of a good actor. also, he seems to feel at more home on the set than his friends. he has the most charismatic presence in the trio, and even when he is uncomfortable with the situations happening, the home-set itself is a place he likes. also, his personality is dramatic, expressive, and egotistical, which are all stereotypes of actors.

though it seems like duck is doing fine at expressing his creative inclination to act, i will argue that in duck, the world tries to crush a way that actors can be creative within a role: by putting their own self/feelings into the character. he has been assigned the role of "the uptight one," or the one who never strays from expectations or expresses feelings against the grain. even outside his role, duck's trauma from the lessons has rendered him afraid to act or think independently, so he only expresses his true feelings from behind the veneer of the role. but when he can no longer take the pain and must express himself, everything around him tries to destroy him entirely and violently. the world tells him that his self, his thoughts, and his feelings are an unneeded hindrance to proper fulfillment of the role.

the idea of attention to role relates to both his want and his failure. duck wants to survive this show and remain with his friends, so he makes the most of what the show gives him. but this ties him ONLY to what he is given, as despite all their interpretation, an actor who is not improvising but playing a particular role on a show needs material to work with in interpreting their character. they need to know the script and work with the director.

he also has a lot of motifs that could play into him representing an "actor"

he keeps losing one of his eyes. an actor is always subject to someone else's gaze, even as they interpret the role through their own eyes. these are the eyes of everyone who views their performance. he even has some fourth-wall-breaking lines related to this (though i doubt he means them with literal knowledge). "i'm the best one," the favorite of the audience. "people want to know what your final guess would have been." "what people?" the audience, of course. his association with eyes could say “Watch Me”

his repeated deaths and replacements could allude to shifting from role to role, as the mechanics of the show-world mean that duck's essence shifts from body to body.

green, his main color, is allegedly uncreative, and though actors are absolutely creatives themselves, some may see them as mere subordinates to directors/writers and an outlet for their creative voices. this might also relate to his repeated deaths; sometimes, overbearing higher-ups on productions might demand that they perform something a certain way and treat them poorly or replace them if they do not.

and keeping this in mind, i’m curious to see what he may discover when he finally succeeds in breaching reality.

the three of them and the creative team

on a tv show, all these roles are replacable. directors and writers change from episode to episode, and actors can leave or get written out. they are all beholden to powers higher than them, whether it's the showrunner or the execs, and they must please if they are to remain on the show. the trio are repeatedly replaced when they die, and they are literally living under higher powers that punish them for doing things wrong.

though they are restricted by the show they are in, the three of them all have creative potential within them. whenever one gain some kind of autonomy, we see this potential bloom: red starts conceptualizing scenes, yellow starts analyzing and writing. but all alone, the student who tries to break free cannot truly gain control over their world. they fall back into the cycle due to either their own failures or those of others.

i've emphasized how each of these creative types, assuming that they do not overlap in one person, cannot create a show on its own. it is the same for these three: they cannot find a solution to their suffering alone. if they want to control the television show of their lives, they must work together. they need to become creators, not just students, and they need each other to do that.

other tidbits

this is just to end this with something fun!

red and duck are closer to each other than yellow. directors and actors work closely together while shooting and thus speak with each other often. i could make a joke about them losing focus and having a consensual workplace relationship here but i won't

yellow and duck seem to have a contentious relationship, but they both get along fairly well with red. i do not know if the writer and the actor often interact in production. however, i feel like both interact with the director more than the other.

red listens more to yellow’s ideas than duck does. though both actors and directors need to be on board with the script, the director is more often the one who decides to make a script a reality.

red is the largest one. the director is often seen as the biggest player in creating a work of film, though again, it is a collaborative process and auteurship is fake. also, red is in the driver's seat throughout "transport" and becomes the boss in "jobs".

duck seems more at home in front of the camera than red, who is uncomfortable with eyes on him, and he is faster to pick up on negative changes in situation than yellow, who must observe and think things through first. you could read this as red-as-director feeling more comfortable behind the camera than in front of it and yellow-as-writer needing to really work through an idea before feeling comfortable putting it out there, whereas duck-as-actor is okay with people watching him and better on the spot when something goes wrong.

(last edited Nov 21, 2022. will continue to be edited as more ideas come to mind)

[schadentekkers]

[shootyrefutey]

longboi

[fragilecapric0rnn]

the brainrot got me and now a fic inspired by this post is in the works. it'll take me a few weeks to finish it up, so for now, let me introduce you to Steve's older sister, JJ Harrington.

Shortly after the ground split open but before the word “earthquake” could fall onto the lips of anyone to explain the unexplainable. Hardly any time had passed, smoke still rising from the "fault lines", some residents still asleep, blissfully unaware of the destruction beneath their feet, the horrors on the brink of spilling out of them.

And yet, here comes JJ Harrington. The clearest image flashed in Steve's brain, gas pedal hitting the floor of her ugly yellow VW Golf, speeding directly into the fire. Passing the trail of cars already on their way out of town.

The adrenaline that had been pumping through his veins when he carried a barely-breathing Eddie through the gate as the Upside Down imploded under their feet, had worn off. As soon as he handed his limp body over to the medical staff, his brain and body finally caught up to one another. The roadrash on his back, every bite on his torso, every muscle in his body, every wound that went ignored, suddenly lit up in and on him like a forest fire, stealing his ability to speak, to ask for help, to walk. Paralyzed by the pain, the tightness in his chest, the ringing in his ears. Just unbearable, immovable, pain.

The squad of Suits approaching their group was an afterthought as his vision started to blur. Every blink made the weight of his eyelids heavier and heavier, only registering Robin’s yelp as his legs gave out under him. Then everything goes black.  

He forgot to ask how much time passed in between his fainting spell and waking up in a hospital bed. It looked like the sun was barely rising, so he would probably guess only a few hours, max. 

Max.  He sat up too quickly, Robin rushed to his side to calm him down as she shouted for the doctor, explaining what Steve had missed while he was out. 

It had only been a few hours since it all happened. He's almost positive Robin told the hospital staff not even to bother calling his parents. Hell, Steve didn't even know where they were these days. His parents were a blip in his racing mind, he didn't care about them. He needed to know everyone was alive, hearts were still beating and breaths still breathing.

Eddie is alive, in the ICU, but alive. Both of Max’s legs are broken, but she’s also alive. The doctor explains that he is being treated for his wounds and extreme dehydration and that he’d be released after a day or two. 

He felt his own breathing go back to normal, only relaxing for a moment until he saw them. The signs of the aftermath in the form of big men in black suits standing at the door of the room. He didn't realize how long his stare lingered, not until the doctor cleared his throat and snapped Steve's attention back toward him.

“Procedure,” the doctor says, like that’s supposed to mean something to him. “This floor is secure, which means no one is coming in without proper clearance.” Probably because there's an angry mob of Jesus Freaks outside, pitchforks and torches in tow.

He believed him. Until about an hour passed.

Not even an hour after that conversation, Robin started to nod off in a chair at the foot of the bed, the TV was on but muted near her. She was in a set of fresh clothes and for the first time in almost a week, they were bordering on comfortable.

Until they heard a small commotion happening just outside the door. Steve could only describe it as a scuffle, sneakers skidding on the linoleum floors, deep brooding voices on the brink of becoming yells, "I said, stand back."

He thinks the doctor might have missed another concussion when he hears a very distinct, very familiar voice call out a, “fuck you!” And then sneakered feet squeaking down the hallway. 

He shared a look with Robin, winced as he sat up to get a better look at the propped-open door. The sneakers skid to a stop at the same time as he fully craned his neck and all the air was pulled out of his lungs. 

He wasn’t imagining it. 

Because there she was, gripping onto the doorway, flinging herself into the room, big brown hair and long limbs flailing as she tripped over her own two feet, stumbling further inside. She had two different shoes on her feet, a white Ked on her left foot and a black Converse on the right. Her glasses sweatshirt was on inside out and backwards, but she still had the same look of determination on her face that had been permanently etched there for as long as Steve could remember.

A familiar sense of relief filled Steve’s chest, seeing her for the first time in years. If he hadn’t already fainted, he was sure this would have done it to him. 

JJ froze, stuck standing in the middle of the room and breathing hard, eyes glossing over Steve as she checked out the room. He watched her eyes immediately dart to the corner of the room where Robin was now standing. Robin stared at Steve's sister, bug-eyed, almost identical to the look she was giving her.

Except JJ's look was riddled in something else, something that made it clear to Steve that she didn't expect to find anyone in there with him. Like she expected him to be alone.

He doesn’t know how long they’re all stuck in place before he finds his voice.  

“Jesus, did you run here from Chicago?” Steve’s scratchy voice startled everyone in the room, himself included. She snapped her head in his direction, eyes already filled to the brim with tears and panic written all over her face. 

“Even in a hospital bed, you’re still acting like a little fucking punk.” Her voice watery as she wrapped up her little brother into a bone crushing hug. Steve didn’t care if she was reinjuring him. Didn’t care to explain to her how he got here. Didn't care if she just got put on a watchlist because she terrorized some federal agents in the hallway. He didn't care if Robin watched them cry and hold onto each other.

He didn’t care. Because JJ was here. JJ's there and he felt like he could finally breathe. He felt like the unbearable weight that had been sitting dead on his chest for the past three years, through the countless horrors, being lifted. All because his sister's hug felt the same as it did when he was 5 and she was 13, when he was 10 and she was 18, when he was 17 and she was 25. He didn’t know how much he’s been needing her. 

“Go!” He hears Robin whisper among scurrying feet and he picks his head up from JJ’s shoulder. He watched the tops of Dustin and Erica's heads get pushed to the other side of the door.

He meets Robin’s eyes, also watery. She mouths, “we’ll be back,” before darting out. He winced when her eyes reached his neck, knowing what it looked like. To someone who could only imagine what he went through. What they all had been through. How he could never tell her the full story, even if he wanted to.

JJ moved her hands to Steve’s shoulders, breaking the hug to get a better look at him. Her face crumpled as her eyes scanned over the bandages wrapped around his torso.

her eyes meeting his, something so unrecognizable in them. Steve had never seen such a look coming from his sister. No, she was the bravest person he’d ever known.

His sister, who threatened to punch his childhood bully in the mouth when she was 14. Who called him an idiot and threatened to punch him in the mouth when she found out the bully became his best friend when they got to high school.

His sister, who called their dad a dick to his face before swinging her arm back. Who put out the rest of her cigarette on their mom's ugly floral couch as she walked out of their lives, telling their dad to kiss my ass, as the door slammed shut behind her. Steve's heart racing for her as he watched her ugly lemon colored car peel out of the driveway from the guest room window.

Her eyes were filled to the brim with tears as they sat there, both adults now. Adults technically, and even if Steve felt like he'd grown a hundred times over in the last few years, he still felt like a little boy watching his sister watch him. The fear in her eyes more chilling than any of the monsters he's had to face.

If only she knew what he had been up to these last three years.

[bydusklight]

smooch~

[leiflitter]

He's upset