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doyoulikethissong-poll · 2 months

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The Cranberries - Zombie 1994

"Zombie" is a protest song by Irish alternative rockband the Cranberries. It was written by the lead singer, Dolores O'Riordan, about the young victims of a bombing in Warrington, England, during the Troubles in Northern Ireland. The song was released on 19 September 1994 as the lead single from the Cranberries' second studio album, No Need to Argue. While the record label feared releasing a too controversial and politically charged song as a single, "Zombie" reached number 1 on the charts of Australia, Belgium, Denmark, Germany, and Iceland, and spent nine consecutive weeks at number 1 on the French SNEP Top 100. It reached number 2 on the Ö3 Austria Top 40, where it stayed for eight weeks. The song did not chart on the US Billboard Hot 100 chart as it wasn't released as a single there, but it reached number 1 on the US Billboard Alternative Airplay chart. Listeners of the Australian radio station Triple J voted it number 1 on the 1994 Triple J Hottest 100 chart, and it won the Best Song Award at the 1995 MTV Europe Music Awards.

The Troubles were a conflict in Northern Ireland from the late 1960s to 1998. The Provisional Irish Republican Army (IRA), an Irish republican paramilitary organisation, waged an armed campaign to end British rule in Northern Ireland and unite the region with the Republic of Ireland. Republican and Unionist paramilitaries killed more than 3,500 people, many from thousands of bomb attacks. One of the bombings happened on 30 March 1993, as two IRA improvised explosive devices hidden in litter bins were detonated in a shopping street in Warrington, England. Two people; Johnathan Ball, aged 3, and Tim Parry, aged 12, were killed in the attack. 56 people were injured. Ball died at the scene of the bombing as a result of his shrapnel-inflicted injuries, and five days later, Parry lost his life in a hospital as a result of head injuries. O'Riordan decided to write a song that reflected upon the event and the children's deaths after visiting the town: "We were on a tour bus and I was near the location where it happened, so it really struck me hard – I remember being devastated about the innocent children being pulled into that kind of thing. So I suppose that's why I was saying, 'It's not me' – that even though I'm Irish it wasn't me, I didn't do it. Because being Irish, it was quite hard, especially in the UK when there was so much tension." The song was re-popularised in 2023 after it was played after Ireland games at the 2023 Rugby World Cup. It was picked up by fans of the Irish team, with videos of fans singing the song in chorus accumulating hundreds of thousands of views on social media. This offended other Irishmen, who identified it as an "anti-IRA" anthem, and said that that the lyrics failed to consider their experience during the Troubles.

The music video, directed by Samuel Bayer, was filmed in Belfast, Northern Ireland, in the heart of the Troubles with real footage, and in Dublin. To record video footage of murals, children and British Army soldiers on patrol, he had a false pretext, with a cover story about making a documentary about the peace-keeping efforts in Ireland. Bayer stated that a shot in the video where an SA80 rifle is pointed directly at the camera is a suspicious British soldier asking him to leave, and that the IRA were keeping a close look at the shoot, given "the British Army come in with fake film crews, getting people on camera.” While "Zombie" received heavy rotation on MTV Europe and was A-listed on Germany's VIVA, the music video was banned by the BBC because of its "violent images", and by the RTÉ, Ireland's national broadcaster. Instead, both the BBC and the RTÉ opted to broadcast an edited version focusing on footage of the band in a live performance, a version that the Cranberries essentially disowned. Despite their efforts to maintain the original video "out of view from the public", some of the initial footage prevailed, with scenes of children holding guns. In March 2003, on the eve of the outbreak of the Iraq War, the British Government and the Independent Television Commission issued a statement saying ITC's Programme Code would temporarily remove from broadcast songs and music videos featuring "sensitive material", including "Zombie". Numerous media groups complied with the decision to avoid "offending public feeling", along with MTV Europe. Since it violated the ITC guidelines, "Zombie" was placed on a blacklist of songs, targeting its official music video. The censorship was lifted once the war had ended. In April 2020, it became the first song by an Irish group to surpass one billion views on Youtube.

"Zombie" received a total of 91% yes votes!

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#finished #high votes #high yes #high reblog #low no #90s #the cranberries #english #o1 #o1 sweep #popular

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neverendingford · 2 years

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#the moment my healthcare kicks in it's over for you bitches #by 'bitches' I mean the multiple mental health realizations and crises I accumulated over the past two years #January hurry please I want therapy #reasons to live: therapy. hrt. maybe be mentally stable enough to experiment with relationships again #I can't wait to have the mental space to finally finish the four books I've been trying to read #not even mentioning the video games I've acumulated and haven't played yet

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fans4wga · 1 year

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26 July update from WGA's Chris Keyser

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From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

#sag-aftra strike #sag strike #actors strike #union solidarity #i stand with the wga #wga strong #wga solidarity #fans4wga #Youtube #wga strike #writers strike

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keptfatkepthumble · 9 months

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You’re My Chubby Boyfriend

Text by @toptierteaser

You’ve gotten so oblivious since we started dating. You’ve been happy. That’s obvious. You can see it on your face, how content you are, how comfortable you’ve gotten. How docile. I’ve been treating you well. And you’ve let me. You’ve allowed me to spoil you, to pamper you. And all that relationship satisfaction has certainly taken a toll. On your mood, on your mental health. Everything has improved.

Everything, that is, but your weight.

You’ve ballooned, fat boy. You’ve thickened quite a bit during our time together. You’ve been letting me feed you, as you sit on that widening, pampered ass of yours. Letting me stuff you silly at dinner. Letting me bring you endless snacks, coaxing goodies and treats down your greedy throat, convincing those plump, submissive lips of yours to part for my desserts. You’ve been letting me fill you; not just filling your heart or your mind or your time. But I’ve been filling up your body as well.

You’ve changed, fatty.

You’ve let all the weight accumulate all over yourself, transforming from that handsome, fit jock I smiled at as I watched him pack away dinner, my own leftovers, and dessert as well. As I sat back, like a fox watching a plump porker fatten himself, knowing your potential, knowing what I could do to you if I put my mind to it.

And it’s unmistakable now. You’re not a fit, single jock anymore. You’re my dumb, handsome chubber of a boyfriend. A plump boytoy whose mind is filled with the thought of donuts and cupcakes and cookies and pies. All being brought to him on a plate by his loving, doting significant other. By me

You’re so obese and awkward now.

That relationship weight has accumulated all over. Your stomach, which was once muscular, is now covered in layers of lard, its dough spilling out onto your lap. Your legs covered in fat, fighting to take up space in your chair as you squeeze your enormous ass back so you can play your video games.

As you stuff your face, stupidly, watching your mind-numbing shows and scrolling on your phone. Your double chin highlighting the cuteness of your face, outlining the plumpness where your handsome jawline used to be.

But I do my best to minimize the discomfort, to make sure you don’t have to struggle into those terrible shorts with the button anymore. No, those all burst a while ago. Now, I’ve spoiled you and bought you several pairs of stretchy athletic shorts that leave little room for growth. Packing away your work shirts and button ups and replacing them with stretchy, breathable t-shirts. Shirts that crease under your juicy moobs, that rest above your belly button, exposing your chub. You don’t even notice as I hold a plate of brownies in front of you.

I love showing you off to the world, taking pictures and posting them on social media. “Look how cute my man is, everyone!” I write. While in my mind I think about how much of a pig you are. How you jiggle now, when you step. How your ass cheeks have to shift because your butt has ballooned so big.

There’s just no hope for you anymore, now, fat boy. So open wide.

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dorenarox · 2 years

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What? Me? A giant misanthrope hoping for the destruction of the entire human race at every minor opportunity?

Well...yes, stupid!!!

#Me #Human stupidity HURTS #Psychologically as WELL as physically #Like I can't wrap my head around how stupid humans are #And I'm not just saying that for THIS reason up there #Heck this one might be a misunderstanding because many people still confuse which time change is the GOOD one (it's Fall you IDIOTS!)#It's an accumulation of observations and first hand experiences #And man...I feel ABUSED #Of COURSE the smarter people are more inclined to take drugs or drink themselves to death! I WANT TO DO IT TOO!!!#But I play video games instead - a much healthier ''addiction''#Which...it isn't one - but since I care more about video games than human intimacy or whatever I OBVIOUSLY must be WRONG!!!!

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mistywaves98 · 4 months

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I read your rules but I hope that I am not passing any boundaries! Can I request for gamer! Scara who's getting sucked off/fingering reader while playing his game? It's totally okay if you don't want!

Quick-ish little thing because I'm in the mood to write

✧･ﾟ:* ->Gamer! Scaramouche x Fem! Reader

✧･ﾟ:* ->¡Warnings!: NSFW, Blowjob (in the beginning), Oral(m.receiving), Scara is rough, Cockwarming, Implications of Breeding, Pet names (doll), Slight degradation (slut), Exhibitionism?(he makes you wear his headphones unmuted while you sit on his dick)!

You wished you weren't so eager to suck your boyfriend off while played video games. Scaramouche's gaming capabilities weren't to be underestimated, with it nearing the third hour since he got on call to play cod with his friends. And three hours since you were put on your knees with his cock in your mouth.

Your jaw was sore and your knees hurt after digging into the coarse carpet beneath you for so long. You weren't even allowed to move or do anything whilst his dick was in your mouth. Any attempts to pull yourself off of him was met with a hand sharply pushing your head back down, making the tip hit the back of your throat, triggering your gag reflex as your eyes watered. Your only purpose was to sit there and cockwarm him till he was done. Maybe it helps him focus more?

Suddenly, you hear him curse and bang his fist on the desk, he must've died. You already know what this means as his hand reaches down and grabs your hair in a painful grip, making your scalp burn. Your body tenses as he begins to move you back and forth, fucking your throat as a way to relieve his irritation and stress of losing. He leans back in his chair to look down at you, lips twitching upward as he sees how you're struggling to take his aggressive behavior.

"Aww, what's the matter? Had enough of my dick in your mouth? Want a break?" He lets go for a moment, giving you some time to respond. You nod your head early, looking up at him with teary eyes, voice hoarse and strained,"Y-yes... Please, let me have a break..." Scaramouche reaches down and pulls you up to sit on his lap. His cock pressed against your clothed entrance beneath your skirt, and his eyes narrow as he feels the dampness accumulated there.

"What's this? For someone who's begging for me to stop, you're utterly soaked. Just begging to be fucked dumb on my cock, aren't you, doll?" He coos at you in a mocking voice, a hand coming up to trace a path along your jawline to the ring of your lips before prying them apart to admire your now sore throat. Then he grabs your hips and begins moving them in slow circles, making you grind on his dick as jolts of pleasure go up and down your spine.

Your hands come up to grasp his shoulders, holding tightly as your teeth dig into your lower lip. You're all too aware of the limited proximity between you and his microphone. Scaramouche sees how you're trying to hold back your noises in fear of them being broadcasted to the whole server and he grins devilishly as he takes the headphones off and slips them onto your head, the mic right by your mouth,"Oh doll, you have no idea how cute you look wearing my headphones... Even more so when you try not to moan."

In one swift motion, his fingers nudge your panties to the side, allowing his cock to be buried deep within your walls with a wet squelch. The sudden intrusion makes a whine escape your lips, back arching and shoulders tensing as you hide your face in his chest. He chuckles at your reaction, rubbing soothing circles on your ass before picking up his controller,"Fucking hell, you're so tight— Can already feel that sweet cunt clenching around me... Now be doll and sit prettily f'me while I play another round." Scaramouche says in a falsely assuring tone, making sure to unmute his microphone as he starts another match.

You're forced to cockwarm his dick to his heart's content, focused on trying not to move so that you don't make noise, the threat of his unmuted mic hanging over your head. At one point you attempt to remove it, but a sudden sharp jerk of his hips effectively halts your movements. The action elicits a choked moan from you, making you smack a hand over your mouth in horror, face burning with embarrassment. The voices of his friends fill your ears, questions directed at your boyfriend asking what the fuck that noise was.

He simply dismisses them, giving brief responses that leave them suspicious as to what their companion could be up to. After what feels like forever, Scaramouche finally tells his friends that he was logging off for the day. Relief fills your mind as he puts down the controller and turns off the computer, but it's short lived as he grabs your chin to make you look at him. His eyes rove over your flustered and pouty expression, pussy aching and needy for some attention after being stretched out by his cock for so long.

"Well look at you, been keeping my dick warm for barely an hour and you're already looking like a desperate slut..." Scaramouche snides as he grabs your hips and begins to move you up and down his length with unnatural strength. Whimpers and moans of pleasure fall from your agape mouth as he uses you as a fleshlight, the feeling of his tip nudging your sweet spot making your eyes roll back. Your boyfriend absolutely adores the sight, the fact you're still wearing his headphones making it look ten times hotter.

"Shit, I could cum just from the sight of you alone, doll.. Lookin' so fucking hot as I bounce you on my dick like a toy... You bet your ass I'm gonna fill you up till there's no way you aren't gonna get knocked up."

#genshin smut #smut #x reader smut #genshin impact smut #genshin impact x reader smut #genshin impact #scaramouche smut #scara smut #scara x reader smut #yandere scaramouche x reader smut

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artbyblastweave · 1 year

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Still playing Skyrim. And I’m interested to report that the game is actually better than I remember, on balance. But I’m kind of fascinated by what’s going on with Lydia, mechanically and narratively.

Lydia is the first follower who gets shoved in your face just by virtue of following the main quest. There are others you can pick up earlier, but not without finishing errands (for Faendal and Sven), by forking up a pretty big chunk of change for the early game by hiring Janessa, or by going out of your way in some other manner. If you’re completely new to the game and you’re just powering through the main story as it’s presented, she’s the first option for a follower that the game highlights for you in giant blinking neon lights. And as a quest reward, she’s mechanically kind of a godsend at that point in the story; a doubling of carry capacity, an excellent meat shield and distraction, a way to extract utility from weapons and armor you don’t want to use yourself. More subjectively she provides the impression of a stalwart ally or companion in what can be a very lonely worldspace to exist in. There’s very little reason not to take her with you, and once you have her, the majority of companions being equal, there’s very little reason to get rid of her until she stops level scaling.

Despite the mechanical utility Lydia provides at a crucial point, and the resultant likelyhood that you’ll haul her along for the ride, she’s only a couple steps up from the companion cube. She has no specific, non-fungible impact on the narrative beyond demonstrating Jarl Balgruuf’s favor. Her deferral to you is automatic; if someone is actively paying her a salary to help you defile graves, cut deals with every deity on the continent and invade the afterlife, it sure as hell isn’t you. It isn’t clear what her gig under Balgruuf was before she was assigned to you. She has no personal narrative. She has no personal side quest. One of her biggest inklings of personality is when she expresses vague dissatisfaction with being treated as a pack mule, but then she does it anyway. She’s party to world-shaking events and political upheavals, but she’s present purely in her capacity as your appendix, so reality simply treats her as your plus-one.

She’ll block doors you’re trying to get through, and she’ll get mad at you if you push her out of the way. She’ll charge into battle or set off traps while you’re trying to sneak. She’ll microaggress you with stock Nord dialogue while pulverizing your enemies, a plurality of whom are also Nords. She’ll distract bosses long enough to buy you breathing room for a healing spell or a potion. You’ll kill her by accident with an ill-timed area-of-effect spell, roll your eyes, and, ultimately, probably reload your save. Because she might only be a couple steps up from a companion cube, but the whole gag with the companion cube is how ridiculously low the threshold is for the audience to get genuinely attached to something in a video game. A thin character invites apophenia. Behaviors that are purely downstream of dev thoughtlessness will still imply character traits if taken at Watsonian Face Value. In this case, inexplicable undying loyalty, reserved comments on impressive landmarks, and comical stoicism in the face of some of the weirdest events it’s conceptually possible to encounter. So here’s to weird, underbaked companions in Bethesda Games, and everything we can project onto the void they provide. And Here’s to that related genus of character- units in squad-based tactics or management-sim games with permadeath mechanics who last long enough and accumulate enough equipment, skill points, etc. that they become your Special Little Guy despite otherwise lacking any deliberate character traits.

#thoughts #meta #skyrim #the elder scrolls #elder scrolls #TES #lydia #skyrim lydia

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solarmorrigan · 8 months

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Hands Where I Can See Them, Part 6

Part 1 | Part 2 | Part 3 | Part 4 | Part 5

The days pass like cold mud – slow, uncomfortable, and relentless.

But they do pass.

Eddie had said he could give Steve the time he needed, and he’d meant it; he would wait out the two weeks and be there on the other side to talk to him. To hope for a second chance.

They see each other here and there, mostly in passing: Steve comes to pick a few of the kids up from a gaming session; Eddie stops in at Family Video with Jeff, Gareth, and Oliver to grab a movie (where Jeff and Steve exchange a surprisingly friendly greeting); they occupy separate sides of the room at a group dinner.

Each time, Eddie is sure to at least acknowledge and wave at Steve, in spite of any protective hovering and scowling Robin might be doing if she happens to be present. Steve gives cautious nods in return at first, but as they near the deadline, he’s returning Eddie’s distant greetings with a hesitant smile and that ridiculous little finger-wiggle wave that Eddie had been reluctantly charmed by in the beginning.

And in the meantime, Eddie plots.

He is not, by nature, an optimist (strangely, between the two of them, that’s Steve’s area), but in this instance, he plans for the best: the idea that Steve will say yes and let Eddie take him on a proper date. And as improvisational as Eddie likes to be, he’s also a veteran dungeon master and plotter of all sorts of campaigns; if you want long-term plans to go off without a hitch, it pays to be prepared.

So, he plots.

He brainstorms and makes lists of all of Steve’s favorite things and schemes out elaborate romantic gestures and draws on all the knowledge he’s retained from the romcoms he’d whined about having to watch with Steve but had always given in over when Steve gave him that puppy-eyed look that Eddie has no defense against.

(And somehow, he’d continued to think they were just friends. His lack of awareness should be studied as a scientific anomaly.)

He thinks Steve would be proud of his accumulated work (and Eddie himself isn’t ashamed of it, but all the same, he makes sure to hide the notebook where none of the guys will ever, ever stumble across it, because they would never, ever let Eddie live it down).

In any case, the ticking down of two weeks finally comes to an end, and Eddie stands in front of the phone earlier than he’d normally care to be awake, hoping that his work will pay off.

Steve picks up before the fourth ring, just like he always does, and answers the phone like a dork, just like he always does.

“Harrington residence, Steve speaking.”

This is where Eddie normally makes a joke – says he’d been trying for the funeral home and asks if Steve happens to have a shovel and some time on his hands; says he thought he’d had the number for the Hawkins Gentleman’s Club and asks if Steve is much of a dancer; once, he’d even affected a terrible New York accent and spun some lines about how he’d been trying to call a speakeasy. He can always hear the laughter caught behind Steve’s dry responses to his nonsense, and he always loves it.

But now is not “normally,” and Eddie only just manages to sound like himself as he replies, “Steve. Just the Harrington I was hoping would speak.”

“Eddie,” is all Steve says for a moment; he sounds almost surprised, but not displeased. “Hey.”

“Hey,” Eddie says back. “So, I know punctuality has never been my strong suit, but it’s, uh. It’s been two weeks. Pretty much on the dot. And you said I should come talk to you again, so…”

“Uh, yeah. Yeah, no, did you – You can come over. If you want to talk, still,” Steve says – stammers, really, like he’s been caught off-guard, like he really hadn’t been expecting Eddie to call.

“Well, if I didn’t change my mind in two weeks, I’m not gonna change my mind in the fifteen minutes it takes to get to your house,” Eddie says.

“Sure,” Steve says, a little steadier now. “Yeah, I’ll see you in a bit, I guess.”

“You definitely will,” Eddie assures him. “See you in a bit, Steve.”

“Yeah. Yes. Bye, Eddie.”

It’s awkward, but – it’s something.

The only reason Eddie doesn’t break an egregious number of traffic laws on his way to Steve’s house is because he simply couldn’t bear the irony of getting arrested now, of all times. With his luck, he’d get sent up the river and Steve would be left waiting and waiting at his house before coming to the conclusion that Eddie had never really cared about him after all, only to be found surprised and jaded several years later when Eddie is finally released from prison and makes his first stop the Harrington house and – Christ, Eddie’s had romance on the brain too long. He’s going to have to binge reread Lord of the Rings or something to get his head back on straight.

He pulls his head out of the clouds and his van into the Harrington’s ridiculously massive driveway and heads up to the door with a vibrating surplus of energy sustained entirely by nerves and determination.

It seems like he’s not the only one running on anxiety power, though, based on how quickly the door opens after Eddie rings the bell.

It’s the first time Eddie’s really seen Steve up close since the trailer two weeks ago. He looks– better. He’s still tired, Eddie can tell; he’s got that slightly droopy look around his eyes and an almost painful set to his jaw that’s nearly impossible to spot if you don’t know what to look for – and most people don’t (but Eddie’s spent a lot of time learning Steve, even if he hadn’t picked up all the right tells). But he still looks better, and Eddie finds himself relieved.

“Hey, there,” he says, giving Steve a nod. “Just happened to be in the neighborhood, y’know. Thought I’d drop by.”

Steve shakes his head, a tiny smile quirking up at one corner of his mouth. “Come in, jackass.”

“Fine way to treat your guests,” Eddie drawls in return, gratified when Steve’s smile grows just a tiny bit more.

He takes off his shoes at the entryway (Steve hardly ever asks anyone to take off their shoes, because worrying about the state of your floors isn’t cool, but it bothers him all the same, and so Eddie takes them off) and follows Steve through to the living room, where they both perch awkwardly on the couch and sit in an equally awkward silence for about thirty seconds.

“So… you said I should come talk to you,” Eddie says finally.

“I did, yeah.” Steve nods.

“You said to tell you if this was still something I wanted,” Eddie goes on.

“I did, yeah,” Steve says again. “And… you’re here.”

“I told you I wouldn’t change my mind, Steve.” Eddie’s hand twitches, almost instinctively reaching out for a spot on Steve’s knee, or around his wrist, or threaded through his fingers, but he doesn’t think he can take Steve freezing up or pulling away again. “This – you, us – I still want it. I want to do it right. If you’ll give me the chance, I want to treat you how you should be treated.”

Steve nods. “Okay.”

Eddie blinks. “Okay? As in – just, yeah, okay?” He knows he’s not making much sense, but he’d been sort of prepared to have to make his case – to extol the virtues of the perfect dates he had planned, to sing the praises of all the things he knows now that he should appreciate about Steve, to lament the loss of trust and ease between them, but instead Steve is just sitting there, watching him with a funny sort of smile on his face.

“I was… I was never going to say no, Eddie.” Steve shrugs. “I just really needed you to think about it. To make sure this—a real relationship with… with me—is really what you wanted. Because if it’s not, if you took it back again, I don’t think I’d– I just really needed you to be sure.”

“Steve,” Eddie says, low and serious, “I have never been more sure of anything in my life. A real relationship with you is exactly what I want.”

Steve’s smile twitches, changes into something a little more familiar, a little warmer. “Okay.”

“You’re never gonna regret it, sweetheart,” Eddie says, can’t help bouncing a little in his seat as his nerves turn to excitement, to elation. “I have the corniest, most romantic dates planned, I swear, I’m going to knock your socks off. We’ll unlock your inner Molly Ringwald.”

Rolling his eyes, Steve shakes his head at Eddie. “You really don’t have to do all that. I’m not– putting you through a trial, or whatever, we can just go back to what we were doing, right? Just with… I dunno, more awareness.”

“Noooo, no.” Eddie shakes his head right back. “You said you didn’t want to pretend nothing ever happened, and you shouldn’t have to. I want to do this, Steve. Let me take you on a real date.”

Something unreadable flashes across Steve’s face, and suddenly his smile is wrong again. Sort of plastic – like he’s trying, but it’s not quite reaching his eyes. But before Eddie can ask what’s wrong, Steve is shrugging.

“If you insist…”

“I most certainly do,” Eddie says firmly. “I’m gonna romance the shit out of you.”

At that, Steve releases a helpless snort of laughter, and the plastic smile is gone, blown away by a real one.

“You’re making a super good argument for it,” Steve says, and Eddie grins.

“Aren’t I?” He bats his eyelashes. “So tell me: you free on Friday night?”

“I’m working, actually. Someone has to dole out dumb romances to other people out on dates,” Steve says drily, as if he himself hasn’t seen most of the films he’s maligning.

Eddie hums. “Saturday?”

“I could probably get someone to cover my shift,” Steve hedges, teasing and flirty and everything Eddie’s missed in the last few weeks.

“So you’ll be free?” Eddie asks.

“As a bird – as long as that bird isn’t a robin, considering who’s going to have to cover for me,” Steve says, and Eddie pulls a grimace.

“Yeah, maybe don’t tell her why you need the shift covered. I get the feeling she wouldn’t be as agreeable if she knew I was involved,” he says.

“I don’t think Robin’s ever been agreeable in her life, and she’d probably resent the accusation.” Steve smirks. “But as long as she doesn’t think I’m sneaking away to see you, and if I take the Monday morning shift she really hates, I don’t think it’ll be a problem. Let’s plan for Saturday?”

“Saturday it is!” Eddie pops up off the couch, both unwilling to sour the mood by overstaying his welcome, and suddenly overflowing with the need to set preparations in motion. “Six o’clock, sharp! I’ll pick you up.”

“Do I get to know where we’re going?” Steve asks, one eyebrow cocked.

“Absolutely not. The surprise is part of the experience,” Eddie says.

“Dress code, at least?” Steve wheedles, and Eddie supposes that’s fair.

“Casual. And bring a jacket,” Eddie says.

Both of Steve’s brows go up now, as he rises from the couch to follow Eddie back out towards the door. “Telling someone to bring outerwear to a date is usually a red flag, man,” he says, watching as Eddie shoves his shoes back on.

“But you love being outside,” Eddie counters, glancing up at Steve with a grin.

“I,” Steve pauses, blinking at him. “I guess.”

“And no more hints,” Eddie says, rising from the floor and reaching for the door handle. “I’ll see you on Saturday?”

“Yeah,” Steve says, his voice warming around a small, pleased smile, “I’ll see you on Saturday.”

“Can’t wait.” Eddie throws one last grin at him before stepping out into the brisk, late fall air.

He doesn’t stop smiling the whole way home.

Part 7

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#steddie #eddie munson #steve harrington #stranger things #eddiesteve #things are going to start picking up soon 👀#solar wrote

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