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#assertion of heart
mayasaura · 2 months
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To be clear, I do ship Marcille and Falin!! I just ship them as.... complicated, you know? They have dyke drama. Marcille is deluding herself that Falin hasn't grown up and she's not going to age, and she's not going to die no matter what Marcille does, and Marcille isn't going to have to live most of her life having lost her. Meanwhile poor Falin would like a step by step written explanation of how to convince her very good elf friend that she is an adult, and has some potentially adult feelings about getting wet and naked and crawling into bed together
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jakkenpoy · 1 year
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onii-onahole · 7 days
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Gyunja x RubberBPA
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vickyvicarious · 12 days
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I had to tear down wrappings and ransack a number of boxes and drawers, but at last I managed to turn out what I sought; the box label called them lambswool pants, and lambswool vests. Then socks, a thick comforter, and then I went to the clothing place and got trousers, a lounge jacket, an overcoat and a slouch hat—a clerical sort of hat with the brim turned down. I began to feel a human being again, and my next thought was food.
I know this is like, a fairly common expression, but still... there's something to be said for the way Griffin doesn't feel human again till he is dressed.
His initial feeling of being a seeing man in a world of the blind, during his his invisible flight from his rooms, lasted only a few minutes. And then first he was struggling in the crowd, before he fairly quickly became prey on the run. The rest of his experience before he took shelter in the mall is pretty nightmarish.
He spends such a good chunk of the book described only as a stranger, and in a way that clearly reflects the testimonies of those who resented and didn't respect him. But also, for all that he is paranoid about being seen (being unseen) by them, he doesn't want to be identified or to socialize at all, so he never gives them a name. Mr. Marvel, of course, never knows him by any name either - he's the first person who (doesn't) see him for what he is right from the start of their acquaintance, and to him Griffin is only ever "the Voice" or "the Invisible Man."
We don't learn his name at all until chapter 17, when he identifies himself to Kemp. And even then, even after a whole back-and-forth repeating his name, he's still called either "the Voice" or "the Invisible Man", once "the Unseen", throughout the rest of that chapter. In chapter 18, he's described by name just once, when his reply to a final question of what else Kemp can get him indicates a surprising vulnerability/desire for comfort: "“Only bid me good-night,” said Griffin." Again, in chapter 19, Griffin is back to initially being only "the Invisible Man" when he's having his fit of temper. He gets his name back when sits down to eat and when he and Kemp are conversing about science. But when he begins describing his money trouble and how he robbed his father, he becomes "the Invisible Man" again at the close of the chapter. In chapter 20, it's mostly Griffin's story, but there's a little switch at the start of the chapter. Kemp takes "the Invisible Man's arm" to bring him away from the window when he's worried he'll see police approaching, and then puts himself "between Griffin and the nearest window" - when he feels more sure he's managing the situation, Griffin gets his name back. Again, at the end of chapter 21, he's back to his title while we see Kemp glancing out the window nervously and clearly distracted... his thoughts more on the help he sent for than on the story being confided to him.
With Kemp, the only person who knows his name, there is a clear pattern to call him by some title when he is afraid of his violence. At least so far. His name is only ever used when he is being more 'civilized'. Not even just whenever he is being open and vulnerable, because he does that a surprising amount throughout his story, but as Kemp's mind wanders, Griffin goes back to being titled once more.
When he's naked and totally invisible, Griffin himself feels like something outside of humanity. And while briefly freeing, this soon became a horrible feeling, something othering and scary. It's why his first instinct is to get clothes, before he even thinks about food. It's why he tries so hard to escape in the clothes he's stolen, before he's finally forced to abandon them. Sure, there's the practical reasons of not wanting to get sick and cold, and so on, but that's not the main drive. Except then he has to give that up in order to get away safely. And even when he does acquire clothes and money and his research and gets away somewhere safer (where the story begins), it's never enough. He's always othered to various degrees, which in general just keep increasing over time. By the time he gets to Kemp, his first request is no longer for clothes - something which again could just be put down to practicalities (he hasn't eaten in much longer this time, he's more used to running about naked and the weather is better) but also showcases much more of a willingness to leave them behind at the first sign of danger, in order to free himself to fight or flee. More certainty that he will need to. And he's right about that - after all, wearing clothes may make Griffin feel more human, but it's not the determining factor for Kemp here.
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seraphdreams · 1 year
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thigh riding wif daddy ran is very much been on my head today alllllllll day 🥺🥺 need him so bad
thigh riding is something so personal to me. his hands on your waist, better yet—his fingers, clad in those expensive rings, gripping the flesh of your hips so tight it could leave an indent as you rut up n down his toned thigh. making a mess all over his slacks that he’s for sure going to have to take to the cleaners but right now that doesn’t matter, what matters is keeping up the continuous string of praises flowing from his lips. when you’re kissing down his jaw and his neck, lips taking extra care of that inked spot on his adams apple. he can’t help but tell you how good you are, how you’re doing it so well, and make a mess for daddy.. he really can’t help it. his smooth, deep voice like honey to your ears encourages you to make him proud — to keep him proud.
poor man’s probably so hard in his slacks too, trying his best to feign unaffected, but it gets the better of him, his head tipping back and thighs tensing while he just so slightly jerks his hips up to chase friction. you got him falling apart :( and maybe then once you cum, he’ll really show you how much you affected him, pin you down so you can’t wiggle away, and fuck you… no, make love to you, so well you’ll be dizzy n dumb by the time he’s done with you. that’s just how daddy is.
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gaymersasuke · 2 years
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Lips
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surrealedits · 1 year
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gilbert nightray icons+headers for anon! more here :)
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systemrestart · 1 year
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stone-stars · 8 months
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for a song about breaking up with sub-zero from mortal kombat that emily wrote in 2013, spring thaw really feels like a callie/glen song
We were what we were but we were never what we could have been and now the spring melts frostbitten hearts
I was who I was but I was never who I really am and now the spring melts frostbitten hearts (x2)
You are what I want but I guess I don’t want what’s best for me now the spring melts frostbitten hearts
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fellhellion · 2 months
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apologies for yosukeposting and especially incoherently but slowboiling in my brain whatever the hell was going on w him in kanji’s dungeon. guy who slingshots between some kinda fraught observation that this is so much worse for kanji because it’s happening in front of an audience (over like. freaking out about it), furiously asserting that he’s heterosexual, insinuating danger but then also being the one who volunteers to take kanji home afterwards.
It’s sooooooooooooooo.
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#I’m naurt.#conveying it well.#but there’s some kinda something about which elements prickle his unease#exposure to the wider community#the topic of sexuality that falls outside of what is normative being introduced AT ALL#but he’s. not scared of kanji. he never has been tbh#I don’t think he would volunteered to take him home and essentially make sure he got there safely if he was#imo it’s more that like. kanji doesn’t reject the shadow’s assertions where yosuke would#and there isn’t a world in his sixteen (?) year old brain where you SHOULDNT do that lmao#if you’re a guy you like girls and you don’t get hugged when you’re sobbing your heart out etc etc#a guy’s a guy and when that doesn’t mean what he thinks it has to mean anymore that’s deeply uncomfortable for him to unpack#it brings to the forefront his own doubts and insecurities#and kanji accepts that in himself where Yosuke can’t I don’t think#doesn’t question a lot of time and builds his identity around it#but he can’t erase the questions people like kanji and naoto raise because like. it’s intimately relevant to HIM lmao#and it’s how he understands a core part of himself#even if that’s built on sand#congrats! you’ve discovered the patriarchal and heteronormative hegemony!#tunes talks persona#I think it goes largely unspoken and deliberately avoided with him but what kanji wrestles w in regards to conciling his sense of identity#to wider society is like. that’s him too lmao
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miutonium · 2 months
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Umm ok yeah uh so the weird stalker that made me left IG found my twitter account 🧍‍♀️🧍‍♀️🧍‍♀️
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inkykeiji · 2 months
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after chapter 419 all i want to do is finish my flawless!tomura series, purely for my own comfort. i am so, so, so disappointed. like, beyond words disappointed. i can’t even adequately express it—it simply and completely transcends language.
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dedahblog · 1 year
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Look I am all for Rukia getting soft over Ichigo's open display of affection especially since she never had anyone tell her frankly how much she means to him /her.
However, I think that there's a limit to indulging Ichigo with his mushiness
Rukia's panel is from this by the way
Kaien and Ichigo being both corny sh1t and Rukia giving them judgy looks while they get embarrassed is one of my favorite headcanons.
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antihibikase-archive · 8 months
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Most of my stuff is viewed through the lenses of the culture and religion I grew up with (even if I no longer practice as much), and this is kind of the basis for Slater's arc and one of the reasons for his lack of identity, even outside factors like The Heart and the legends.
He grew up being praised for being a quiet and polite child, who never causes trouble for anyone, who was always doing what he was told- he grew up mostly compliant to whatever was happening around him, because it never hurt him. The only time he seemed to deflect from anything was when he decided he didn't want to dress like Bianca anymore.
But he wanted to be something more than crybaby Cheri- the polite child from Nuvema Town, the child that hid behind Bianca when he was little.
He tried to be more assertive when their journey began- telling off Hilbert for his recklessness, calling out Bianca for her ditziness, occasionally arguing with Hilda due to finding her methods too different from what he was used to- and he dressed like Grimsley. In a way, he was rebelling from the image asserted onto him by the community that raised him.
They weren't inherently evil- they just could have done better in helping him shape his identity, instead of basing it around his "goodness".
But his pursuit of an idealized self and a sense of identity leads to him losing half his heart, and he's torn between wanting to go back to his truth, the person he used to be, or continuing to pursue his ideal even if he gets hurt.
He doesn't know if he wants to be compliant to how things are- or if he should brute force his way into the path he wants. To be kept safe in a locked cage, or to die trying to escape it.
In the end, he's a neutral presence, and he does not choose between his truths or ideals. He chooses not to abandon the values he grew up with, but it doesn't mean he's going to shy away from becoming a person that would be much different to who he was before.
He can't go back to his truth, to being pure, and he can't pursue an idealized self that would completely change who he is. But he can try to attain both; he does not abandon the person he used to be, nor does he try to go back to his roots. Its remembering who he was, and accepting who he can be.
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sneakystorms · 1 year
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Appreciation of little women's genuinely feminist messaging for its time and place of writing vs disgust at the all too obvious lingering sexist undertones vs wanting jo to be the queer icon she was meant to be vs understanding her desire to be able to fall on love without having her independence questioned vs knowledge that her marrying was certainly motivated by the expectations of a sexist audience vs wanting her and Laurie to end up together because you want to see couples who are actual friends and also you want Jo to be with someone who unapologetically likes her gender nonconformity and independence vs appreciating the inclusion of a plotline where a woman refuses a man and isn't demonised for it vs acknowledging the truthfulness of Jo's claim that people who make good friends won't necessarily make good life partners vs agreeing with the moral that childhood must end and change must be accepted vs hating the way every girl's process of maturing conveniently brings her closer to the motherly American housewife ideal vs i love stories where authors aren't coy about their beliefs vs this particular story is so blatant and pushy with its messaging it almost feels insulting vs the messaging itself is a mixed bag vs it's especially frustrating to see the writer vicariously pat herself on the back for writing something neither overly preachy nor amorally sensational vs oh my god this book is so obnoxiously christian. Fight
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I'm in liquified disoriented tatters since the finale, but something I was meaning to say before this episode: I think Carpenter is like. 35, maybe 40, with a dash of "you look like shit" making people assume she's a bit older. the hunter siblings are absolutely teenagers as well.
also, a thought from the middle of the episode, before I was fully liquified:
At a certain point, Mercer wasn't much of a hunter anymore. She was just rabid.
[con't] Faulkner do you want to explain that thing you said to Mason. could you please. I don't. think I follow. faulkner
Incorrect! Carpenter is 45 at the bare minimum. I agree that at first (or second, or fifth) glance she looks older, but honestly she feels even older than that based on the fact that she has been keeping company with twenty somethings for the last two years. (Faulkner being max 22 and Paige being 28 at the outside.) Hayward is the only person in the whole cast who we might consider 'of an age' with Carpenter, and mostly because he's in his late thirties/early forties and prematurely aged by a steady diet of stress-smoked cigarettes, lies, deserved guilt, and paranoia.
"Mercer is rabid" fuck you that's a good line.
I do actually have reasoning for this! There's a great post in the silt verses tag calling out how nonsense it seems for Faulkner to snap at his faith no longer being illegal. Surely that's a good thing! Religious persecution is the reason Nana Glass is dead and Em drowned; the reason for Carpenter's parents being absent and Mason running his a private cult. Real religions have fought tooth and nail to be recognized by the state as legitimate; most modern people understand a lack of religious tolerance as bad and wrong. There's no reason to believe that this wouldn't color our readings of a podcast about fictional religions. What I think perspective ignores, is that---when it comes to TSV a religion's choice is not between "criminalization/persecution" and "recognition by the state/freedom." Instead, the existential question before every faith of the Peninsula and the Linger Straits is "criminalization" or "co-option". Your choices are either to be an enemy of the state, and operate under your own wild rules, however corrupt---or to throw your lot in with the government, and become yet another arm of the state trying to kill you. After all, it's the legitimate government tying sacrifices to trains, courting gods via test audience, letting dispassionate scientists discover your saints by scientific method with a body count. Stripping faith and narrative from your religion for the sake of power---like copper wire from the walls---is what the government does. And that's what I think Faulkner objects to. For good or ill, he is the most sincere believer in the Trawler-man that we know---his investment isn't in the Parish and its earthly power, the way Mason's is; he doesn't particularly care about its people, as Carpenter does. He believes in the absolutism of its god and his role as that god's prophet. No more, no less. Is this unreasonable, unhinged? Yes. But it does mean that Mason willing to sell out that divine absolutism for a seat at the Peninsulan table is an existential threat to Faulkner and everything he is. Hence: Murder.
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