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luveline · 8 months

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how about spencer x badass reader and they are wearing couple or similar clothes intentionally or unintentionally?? I think that would be cutee

tysm for requesting ♡ fem!reader

"Are you kidding me?" Derek asks, sounding like a kid in a candy store, a crisp twenty in his back pocket.

Emily follows his line of sight and feels her cheeks apple unbidden, a delighted smile on her painted lips. "Oh, my god."

"Yeah, Garcia?" Derek asks, phone to his ear, Penelope first on his speed dial. "You need to come and see this. Like, right now. Don't worry, baby, just come and see it for yourself."

"I don't even know what to say." Emily stares at you.

You usually dress in line with the other women in this profession: pants that aren't too tight so you can run in if needed, a simple blouse, and a blazer if you're feeling formal.

Today, you've opted for something softer. It was a slow change, one day you were wearing a cashmere sweater, thin and fitted to your form. Another day, you chose to layer your shirt with a cardigan of a similar colour.

Right now? You're all Spencer. Your slacks remain unchanged but your blouse has been swapped for a shirt with a stiff starched collar and layered under what can only be described as a grandpa sweater. It's not quite ugly, but it's almost identical to Spencer's.

What's more, you've swapped your boots for converse.

Spencer holds the door for you. He's chosen to wear a tie at least, clinging to that last strand of professional business attire. He has two coffees, one in each hand, while you carry a box. He's all elbows as he talks to you, and you, ever his fan, follow every word with a fond smile.

"Hey, are you guys sharing a wardrobe now?" Derek asks, absolutely unwilling to hold back.

Emily piles on, "It's cute! You're totally an old married couple, you look like my grandparents."

"What happened to your boots, lovergirl?" Derek asks, nodding at your cons, arms crossed over the back of his chair casually. "Don't get me wrong, I'm loving the sneakers."

"You guys totally match," Emily coos. "You could be on a Christmas card."

You smile —you smile, Emily might just call the news— and walk past them to your desk. Hotch has moved you away from Spencer knowing you'll encourage his endless chattering, which places you on a different island of desks next to Anderson and Agent Camille.

Spencer put his coffee down on his desk, taking off his messenger bag. "Nice going, guys. She brought you donuts. You know, to apologise for calling you both antagonistic losers yesterday," he says, smiling at the mutual horror that crops up on their faces. "The fancy kind, too. She knew your favourite flavours without asking."

From her desk, Emily can see you've opened the box and offered them to your desk mates, your expression unperturbed. "Just don't touch the chocolate sprinkle ones, they're for Spencer," you say.

No matter what they say, how sorry they sound, you give out the donuts to anyone who'll take one until they're all gone. When Garcia arrives, she finds you sitting in your desk chair with your head leaning against Spencer's stomach, taking alternate bites of the same sprinkle-covered donut like it isn't the most domestic, coupley thing you could be doing.

Unlike Emily and Derek, Penelope genuinely thinks you look cute. "You guys are like Brangelina," she breathes, eyes wide, her smile infectious.

Spencer fails to hide a grin, his hand on your shoulder. You're better at controlling your emotion, sliding a small parcelled package across the desk toward her.

"Thank you, Pen," you say. "I like the shoes. They're comfy. And the sweater was a gift." Spencer nods enthusiastically.

That explains why you'd taken such an offence. Anything to do with Spencer raises your hackles. If you felt someone was making fun of his present to you, you'd defend him with your last dying breath, or, in this instance, punish your coworkers in his honour.

"I'm sorry," Derek apologises again, "I was kidding! What do you want me to do, you want me to wear a sweater vest too? I can do that."

You reach back to touch Spencer's side, levelling Derek with an impartial look. Not mad, not sad. Totally indifferent. "That could be a good start."

Spencer hums. "I think so. You wanna borrow one of mine?"

The barest hint of a smile plays on your lips. "That's generous, Spence. You're a philanthropist."

"I am." He strokes the slope of your sweater-clad shoulder proudly. "You know me, I love sharing my wardrobe."

#spencer reid #spencer reid x reader #spencer reid x you #spencer reid x y/n #spencer reid x fem!reader #spencer reid imagine #spencer reid fluff #spencer reid fanfic #spencer reid oneshot #spencer reid scenario #spencer reid drabble #spencer reid fic #spencer reid fanfiction #criminal minds fanfiction #criminal minds #criminal minds fic #criminal minds x reader

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mellowwillowy · 6 months

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Yan! Boyfriend x GN Reader

—𝒀𝒂𝒏𝒕𝒐𝒃𝒆𝒓 - 𝑳𝑰𝒇𝑬 𝑷𝒓𝒐𝒋𝒆𝒄𝒕 𝑬𝒗𝒆𝒏𝒕 , NSFW

Yan! Boyfriend who you thought to be a golden retriever only to have him turn into a Doberman the moment you are away from him.

Yan! Boyfriend who is the "all 5 love language combo" for you and you only!

Act of service? Fun, especially when his head is buried into your crotch. That aside, yes he does all those sweet ass stuffs. Anything you think of, he has done it, even to the very most downbad shit you could think of.

Physical touch? PDA if you are into that, else either a hand around your thigh, squeezing them with love or shit ton of pecks.

Words of affection? 'My love looks so gorgeous as usual! What a refined beauty my love is, no wonder I can't stop falling head over heels for you!' And you were on the bed with bad hair, drooling on your pillow.

Gifting? How many gifts have you received today from him? Starting from something little to something large? The most surprising would be him coming home with a pet for you.

"Ta-daaa! You've been saying you want a pet so I think you will like this!"

Quality time? Not a problem for him. He has a lot of time for you. Hm? Work? Better not question him further about it. All that matters is that it's enough to give the two of you more than enough, even allowing the two of you to laze around. (Unlike Yan! Lawyer Husband and Yan! Antagonist who barely has any time for darling pfft-)

Yan! Boyfriend who is practically on his knees like a dog waiting for his treat when you are about to do something ✨️ r o m a n t i c a l ✨️ on him. Say who's a good boy and you could have sworn you saw his non-existent tail wagging excitedly.

"Who's a good boy hm? Who's a gooood boy??"

"Me! Blue! Blue is a good boy!"

Well, at least he is now because he wasn't when you first met him. He's changed a lot just for you, didn't want to disappoint you the next time you see him.

Yan! Boyfriend is the guy who you can really depend on for everything. Financially? Yes. Wanna beat the fuck out of someone? Call him and that person will have a taste of all the martial arts he has learned back then, not to mention he was quite the delinquent back then. Mentally? Yes. He's always there for you, either making it worse or better.

Yan! Boyfriend who likes to show you off to his friends and co-workers so much as though you are his prized possession. The hand that never leaves your waist and the dagger he shot at the people who stared at you for a bit too long are threatening enough to scare them away. Will definitely have a separate chat with them later,

"The fuck you are looking at my love for hm?"

Ignore how their nose is red and bleeding okay? If only Blue was able to do more, he would have had his fist buried into their face even more and harder like in the good ol' days. Has no choice but to be good else someone might rat to you about his behavior again.

Yan! Boyfriend who really likes to sleep on your lap, being able to feel you this close just makes him feel all giddy like a teenager in love. Would litter kisses and licks if you are not wearing anything that covers your thighs.

Yan! Boyfriend who will almost have the same taste in music as yours because he's just like that. Sucking in everything about you and ends up liking it.

Yan! Boyfriend who will vibe with you nonstop. If you are the crack type person, he will just be as crack as you, making people think whether the two of you are high in crack or not. Will always make you feel like it's okay to do anything you want without having to be embarrassed. Too shy to sing? Well, watch him scream his lungs out (Lemon and Grape chilling with ear muffs) and his hand motioning you tag along.

"BABY WON'T YOU LOOOOVEEE MEEEE"

"What do you say we gag him up with the mic?"

"Great, I'll hold him by the neck."

Yan! Boyfriend who really loves watching you sleep. No, he's not a somnophilic bastard like Yulian. He just adores seeing you resting so peacefully. (while Eleanor panicking over darling sleeping)

Yan! Boyfriend who enjoys cooking breakfast for you. You'll wake up greeted with him standing by the kitchen or sitting by the dining table waiting for you to wake up. Hm? If the food has gone cold because you woke up late, he'll just reheat it. Nothing biggie so no need to feel bad about it ^^

Yan! Boyfriend who is always keeping his mental state in check just in case it cracks open the ugly side of him again. He's embarrassed of it yet he is grateful for it because it brought the two of you to meet. Just staying next to you is enough to keep him sane so try not to stray too far from him okay? He might really snap again and the place you once called home might be nothing but ruins.

"Love you... dear."

Yan! Boyfriend who hates being away from you! If his work suddenly requires him to be somewhere away from you, he will bring you along with him! (I might make a chart of the difference for all the LIfE Pro casts)

"Almost feels like a vacation eh? Let's visit this place once I'm done with work love!"

Although he always brings you along, there are times when he'll have to leave you with Lemon or Grape, either asking them to stay with you or you stay over their place.

"Try not to dent his sport car again yeah? He was yapping at me for hours ahaha! I will ask Grape to watch over you as well, she'll do well as your nanny. Hm? Not a little kid anymore? Oh no no, better be safe than sorry. Don't want those nasty ghosts keeping you awake during the night yeah?"

Afternote:

Blue is my second favorite! Yulian has always been the first so no one sees Blue that much... he's just so sweet... although the story he shares with Eleanor tangles everything up...

#LIfE Project #yandere male #yandere #yandere x reader #yandere scenarios #yandere x you #yandere imagines #male yandere #yandere insert #yandere oc #yandere headcanons #yandere works #yandere writing #reader insert #x reader #oc #x gn reader #yandere husband

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artsekey · 5 months

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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jesterwaves · 2 years

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wip time (for real this time)

#wip #flats r done ill either use gradient mapping or just manually recolor using clipping #this parts mostly covered cuz someones sitting in front of it #but i had to design a major character (as in...main antagonist) to appear on the monitor #they dont have a canon design... horns n hair might change but this feels about right otherwise #but theyve existed forever...i need to make them a little more original though. everything regarding alien lore and most of the aliens is...#well if you know you know. i wear it on my sleeve.#shit i forgot i wanted to put a joke line in the alien language #i dont have enough grammer/words so id just have to translate the english sounds/grammer #but it would be COVERED anyways so its pointless now

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gr1mstar · 2 months

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I'm a huge Dark romance book girlie

So can you write LDS boys finding out what she was reading like they had no idea reader has a fascination with dark romance books with psychotic ml or villains

I'M BETTER `✦ ˑ ִֶ 𓂃⊹

note. i'm also a huge fan of darl romance books so i had fun writing this. thank you for your request love. also, i'm sorry for the wait, i hope you like it.

contains. love and deepspace boys x reader, fluff, sfw.

ZAYNE

you both had this hobby of reading, so it wasn't strange when zayne found you on the sofa in the living room of your apartment, reading a new book.

the only difference between you was that zayne read books related to medicine and history, while you liked to read romance books. zayne knew that you weren't into history or medicine, so he didn't bother to explain in detail what he read, but he was more satisfied listening to you complain that the two protagonists are stupid that they don't see that they love each other others.

at least zayne liked listening to your stories until they disappeared. suddenly, you started not telling him anything.

so curiously, when you put the book down to go drink a glass of water from the kitchen, he took the book you were reading at the moment, wanting to see what makes you stop sharing the plot of the story.

after some time, making your way back to the living room and seeing zayne with the book in his hand, his face red and a shocked expression on his face, you started to laugh subtly.

"what is it? what's with that expression?"

speechless, zayne puts the book down, moving closer to you.

"to understand that this is how you want me to be too?" he said, placing his hands on either side of your waist.

"what?"

"to talk to you like this… to tie you to the bed with something and make you stop walking the next day? to be crazy about you? what do you say?"

XAVIER

seeing you blushing in front of the book you were reading, xavier couldn't help but ask you what you were reading.

"ah, just a romance book." was your answer, returning to reading, the blush on your cheeks not disappearing.

not satisfied with the answer, xavier sighs and sits back with his head in your lap. thinking that he had nothing to lose, in a second the book you were reading now was in xavier's hands, his eyes on the lines you had just read.

"what is this?" he asked, flipping through a few pages and then looking at the cover. a smile appeared on his face. "do you like this stuff?" he continued, handing you the book back.

you didn't answer now the blush in your cheeks being much more obvious than before, your gaze moving down, avoiding his.

"i understand that you like antagonists more than heroes, right? someone obsessed with you?" xavier said, approaching you with big steps, now being a few millimeters away from you. bending down, his face was directly in front of yours, and with the help of a hand he forced you to look at him, grabbing your chin and turning your head.

"you're lucky, princess. i can be mean sometimes, but you have to take responsibility for it."

RAFAYEL

rafayel never understood what you like so much about books. it is a fictional story, with a fictional person. why waste your time reading about them when you have him, alive and very sexy, in front of you.

this, out of curiosity, he tried to read one day, when he had no painting to complete.

getting into bed, with a cup of coffee 'for energy', he started reading the last book you recommended, not expecting what would happen next.

the hours passed quickly, and in the middle of the book Rafayel lay down, looking at the time in wonder. the whole day had passed, and all he had done was read.

"i lived to see this too." he heard, immediately seeing that it was you at the door. "are you reading?" you asked, laying down on the bed next to him.

"let's say. i was curious why you like it so much." Rafael answered, leaving the book on the bedside table and taking you in his arms.

"and did you like it?"

he didn't say anything, taking his face into the crack between your shoulder and neck, inhaling the aroma of your body. he didn't want to admit that he liked the book, being too ashamed to tell you that now he understood why you liked it.

"so you like it." you said, laughing lightly.

"no. I'm better."

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kaladinkholins · 4 months

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We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

#blue eye samurai #mizu x taigen #taigen x mizu #taimizu #taigen blue eye samurai #blue eye samurai meta #hope yall enjoy my thesis on virgin mikio vs chad taigen #this was written last night when i shouldve been writing the new chapter for my taimizu fic that i promised i would work on....whoopsies...#i will get to it eventually but i just have to get a firmer grip on characterisation before i can delve further into it yk #on that note. i kiiinda regret posting the fic on a whim!#my last longfic was written better because i had the whole thing complete and could go back and edit/polish/revise before posting #so it came out much more coherent and consistent ykwim?#this fic might suffer a bit for this reason 🤒#but its fine i have to remind myself im just doing it for funsies #anyway here have another long ass meta post from yours truly #meta dissertations.pdf #shut up haydar #fandom.rtf

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dailyadventureprompts · 6 months

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Heavy Topics: A Child's Vision of Evil

One of the first big “aha!” moments in my journey to retrofit d&d’s laughably bad lore was the realization that the way the game treated evil didn’t make much sense. As a dungeonmaster I was asked to create dramatic stakes for my players but the out-of-the-box antagonists supplied to me were as laughably one note as the pollution loving villains in Captain Planet. Who would ever worship the demon god of killing everything that lives? Of torturing you for all eternity? Of being unpleasantly covered in slime?

None of it really made sense until I started to understand the world and recent history through a political lens, at which point several things became clear:

Despite how large a bogyman it played in the satan scare of the late 80s, the people who laid the foundations for the lore of d&d came from a background of conservative american christianity, and baked a lot of that ethos into the game.

The conservative christian imagination can only see things in black and white. People who disagree with them can’t just have a different opinion, even if that opinion is objectively good, they need to be wilfully evil . In fact they must be trying as hard to be evil as the christian is trying to be good, because they’re a backwards person, a monster, a demon.

This idea of the “Backwards Person” is the exact process that gave rise to the bloodlibel, to the witchpanics, to the redscare, and yes, the 80s fear that satanists lurk around every corner sacrificing babies and putting poison in candy because they love evil that much. It’s the same thought that’s given rise to Q-anon and the groomer panic. “People who disagree with just can’t just have a different opinion, they must be demons.”

D&D’s classic enemies are similarly all “backwards people”, hardwired to do evil so that players always have an excuse to kill them. While on the surface it seems harmless or even childish it leads to the default d&d world being one where peace is impossible and genocidal violence is the only correct answer.

We can do better in our writing than a bunch of shut-ins who wanted nothing more than to play cowboys and indians while ripping off Tolkien. Whether you want to write a sweeping epic or a mindless dungeon crawler, there’s a way to reconfigure d&d lore.

Join me below the cut for a discussion of different ways to use evil in your games.

Children cannot control their emotions nor their fear, they lack the life experience necessary to contextualize things beyond a surface level reading. If you ask a child to "imagine something bad" they're going to take something that scared them, something gross or unpleasant or threatening and imagine it blown up to cartoonish proportion. Tolkien got bit by a spider as a kid and the entire fantasy genre has never lived it down.

D&D is weird because it keeps these childish ideas about evil and drags them forward into an adult context. Those three demon gods I mentioned in the intro make a sort of sense when you realize they're fears of dying, pain, and uncleanliness made manifest. That said most of us having outgrown our childish simplicity understand that those things are neutral, Spiders might personally gross you out but we all understand that doesn't make them bad on a spiritual level. In the base d&d lore however that personal distaste is ALWAYS true: Evilness is synonymous with ugliness and monstrousness, drawing a thick crayon line between the good people and the bad things.

That's where we get our particular flavor of backwards people, because one of those fundamental (pun intended) fears d&d inherited from it's creators was xenophobia, fear of the strange, but also fear of the stranger. When the white, suburban, middle class, christian creators of d&d imagined the other they took all the bad things they had been told in their youth about people who were not them and made them into monsters: That's why the default thinking enemies of d&d are tribal primitives who squat in the ruins of greater civilizations worshipping demons while coveting the beauty and wealth of cultured people. It sounds hyperbolic, but there's a one for one parallel between between the weird sexual anxieties conservatives have about black men and orcs raiding human lands to kidnap women as breeding stock. Same fears about emasculation and race mixing and ethnic replacement, only d&d gives the good ol' boys a narrative vehicle where they can revenge themselves upon their imagined foe.

Most modern d&d is not like this, and I chalk that up to the demographic shift that's happened both because of time passing and the influx of new voices that came along with the 5e renaissance. We're all media literate enough to avoid the obvious racial pantomime... except in cases like the Hardozee when the devs port something almost word for word from an older edition and we get a thanksgiving uncle/facebook aunt screed about how the silly monkey people are really SO happy to work for the refined and civilized and white elves.

What's left behind however is that pervasive childlike worldview: Where perfectly natural things that creep us out (like rot) or frighten us (like pregnancy) are made universally villainous regardless of any themes that are going on in that specific story. Ask yourself why the creators of a piece of media made their badguys look and act like they did, rather than just accepting that it's that way because "the lore says so".

Anyway, that's my rant over, and I promised you guys some different versions of how to use Evil:

Classic demons or lovecraftian horrors make for good bossfights but are thin on character, one of the basic building blocks of story. To remedy this, pair your unremitting force of darkness and destruction with a troubled and nuanced mortal agent, someone who is trying their general best but has been forced down this low road by circumstances beyond their control. This gives your roleplaying focused players something to play off against while your combat focused ones battle a building sized monstrosity. Raw evil isn't interesting, it becomes interesting when we see what it makes morally grey people, even good people, do in reaction to it.

Extremity is one of the best ways to turn normal people into villains, a looming disaster or recent crisis that's putting the pressure on everyone and preventing anyone from thinking beyond protecting themselves and their own. Beyond the people acting rashly, you're also going to have a legion of opportunists offering to fix the problem as your higher rank of antagonists to overcome.

Similarly, if you're going to have your villain backed up by legions of faceless mooks you're going to need a reason for their loyalty. Your villain is offering them something worth dying for, which gives your heroes an alternate win condition for overcoming their numbers beyond genocide.

If you're willing to take a step into a more fanciful, cartoony universe, feel free to play with the idea of good and evil as arbitrary teams: It's the badguy's job to cause chaos and it's the goodguy's job to stop em, they're all working professionals and the dungeon is the workplace comedy. This is fun, but then lets you escalate the tension when someone doesn't play by the rules. What happens when a zealot starts executing evildoers who'd already surrendered? what happens when the villain summons something that is more interested in devastation than wacky hijinx?

Think of morality like a punnett square: There's the party, and then there's the villain who wants the opposite of what they want. THEN there's the villain who wants what the party wants, and the ally who wants the opposite of party wants. Suddenly rather than a simple binary, the party is forced to balance the interest of varying groups as well as their better judgment. This can be made even MORE complex by creating different categories of "what the party wants", which is generally how you get complex political dramas like game of thrones.

#heavy topics #writing advice #dnd #dungeons and dragons #d&d #ttprg #pathfinder

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pianokantzart · 1 year

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The Dog Scene from The Super Mario Brothers Movie

Thank you @scribeprotra for permitting me to unleash this. Followup to this post: X

First of all, this scene is the first time we get to see Mario do actual plumbing, and it establishes that this business isn’t just a pipe dream (ha ha). Mario is actually a really skilled plumber. He sees the problem, knows what to do in an instant, and wraps it all up in less than a minute. So later, when all of Brooklyn is flooded, and Mario laughs that the hired workers “aren’t even looking in the right place”, we can believe he knows what he’s talking about.

Then, comes trouble: Francis The Dog, Mario and Luigi’s first real adversary... a kind of tutorial boss fight. Foreman Spike was antagonistic, but he was all talk. He would bully, threaten, and get aggressive, but he wasn’t going to throw the first punch. Francis, however, is out for blood.

We see an echo of what happened earlier when they confronted Spike. Mario stands between Luigi and danger, pushing him back, ready to defend him. However, unlike Spike, Francis doesn’t walk away, he goes for the throat, and it throws both brothers off kilter.

Luigi, while anxious and fearful, proves he’s not a man of mindless panic. When Francis comes at him he’s yelling for Mario’s help, but he himself is climbing to higher ground while grabbing the nearest available object (a toilet brush) to defend himself. This pattern continues for the rest of the movie: though he isn’t much of a fighter, his survival instincts are quite good.

Mario, on the other hand, immediately turns combative when Francis goes after Luigi. He draws the dog’s attention, and they skirmish for a bit before Mario finally seals Francis off inside the shower. Mario is not exactly a warrior yet, but he definitely has good fighting instincts.

Of course, let’s not forget Luigi holding off the jet of water with the mirror foreshadowing him holding back Bowser’s flames with the manhole cover. That’s been talked about before... I want to talk about THIS shot:

Mario is holding out a wrench like a sword, Luigi is holding up the mirror like a shield. That is them in a nutshell, and why they work so well together: they are sword and shield, offense and defense, impulse and caution, working together to balance each other out.

When Francis leaps at them, they instinctually hold on to each other for dear life, but still manage to duck out of the way at just the right moment as the dog accidentally flings himself out the window behind them.

Despite the dog being a violent threat, he is also a beloved pet to the homeowners. So what does Mario do? He throws himself out the window after Francis.

He trusts Luigi won’t let him fall, and he doesn’t. There was no time for a plan to be discussed, they were simply on the same wavelength.

IN CONCLUSION: The dog scene is what introduces the audience to the very different ways Mario and Luigi react to danger. It also shows us how tight their bond is, and why they work off each other so well, even beyond the emotional support they provide each other. The one downside is that the scene hints at a really cool fighting dynamic that we didn’t have time to properly explore in the film. The next time Mario and Luigi are fighting side by side they’re effortlessly mowing down enemies with the power star, and the sword-shield dynamic is lost. But I’m very excited to see the future of how they work as a team now that we’ve established the setting and set the two up to become heroes.

#mario movie #mario movie spoilers #mario #luigi #mario movie analysis #wake up new essay just dropped #super mario brothers #super mario bros #super mario brothers movie

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a-twistedheartslonging · 14 days

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Could we please have your headcanons of non-human Ace?? Is he a cuddly fox?? Or a coyote?

I would say a fox would suit him pretty well, cute little troublemaker.

Soft fluffy fur that matches his hair and covers his arms and legs but is black from wrists to hands and ankles to feet. There's fur above where his tail is attached and there's a small patch of white fluff on his chest, and his underarms along with a thin but soft happy trail of white fur starting below his belly button.

His dark claws that are semi-retractable. Sort of human hands, the skin is dark to match the dark fur on top of his hand and the patting on his fingertips along with the pad on his palm also matches the color. The padding is kind of soft. Touches your hands and teases you for them being small and clawless, totally not because he wants to hold them.

Foxes hunt by stalking and pouncing on their prey, regular human Ace already likes startling you, especially with the cute noises you make. It’s gonna be way worse with him being an actual predator made for hunting and sneaking. You will hear nothing before he pounces and man will he laugh once he has you. Said laugh is a bit fox-like but not quite.

youtube

Foxes actually have small spines on their tongues, you discover that when he decides to give your cheek a lick. No, he’s not being affectionate he just knows you humans think that stuff is gross, and he wanted to mess with you…totally the reason.

Even domesticated foxes have a very strong digging instinct, they will absolutely attempt to dig through floors, carpets, and your yard. He mostly grew out of it but you might catch him digging a hole or two in the Heartslabyul garden or even behind Ramshackle. Sometimes for no reason or other times to hide something from Riddle.

He is such a freaking snack thief.

Despite being a canine species, foxes actually resemble cats more than dogs in many ways. Like his animal counterpart, Ace’s pupils are catlike, vertical slits, which gives him excellent night vision. Many foxes are also excellent climbers, routinely scaling trees and roofs to stalk birds and squirrels. So, you might catch him on your roof or hanging out in a tree and he will likely encourage you to join him up there. Oh, the little human has trouble climbing? Well, he…he guesses he could help you if you give him some snacks later- no wait come back! It’s too bad most of the others here are beastmen or else it would be way easier to cheese it after causing trouble.

Foxes are naturally curious animals. As such, they occasionally check out other animals—even the ones that would, in other circumstances, be their bitter enemies—and make friends with them. For instance, dogs (and, to a lesser extent, cats) tend to have an antagonistic relationship with foxes. This does nothing to stop individual foxes from sometimes approaching and playing with both cats, to the point where the fox and the other animal actually befriend each other. Ace is similar in a lot of ways, though unfortunately as we all know, Ace’s version of making friends involves a lot of teasing. He’s lucky humans aren't a bitey bunch and can be easily won over by floof. He knows this is a weakness of yours and uses that to his advantage, acting like he's allowing you to pet him out of the goodness of his heart and not because it feels freaking amazing. Too bad for him Foxes are a vocal bunch, especially when happy and he sucks at hiding the feel-good fox noises when you find a good spot.

Interestingly enough recent research has found that one of the earliest animal species foxes have befriended may actually be . . . us humans. A 16,500-year-old cemetery in northern Jordan was found to contain a grave with the remains of a human male and his companion fox. Seeing as the grave is roughly 4,000 years older than the earliest known human-dog burial, it would appear that foxes were playing around with humans long before we got around to domesticating dogs. So…it was all most meant to be that you guys become friends…and he's obviously your favorite, right?

Be it with family, a friend, or something more foxes can be especially affectionate. Grooming, playing, and cuddling are the big three ways they show it. Though with grooming he often seems to be the one insisting you do it for him, he's pretty proud of his tail and is smug about it with others that you love his so much.

It…nice how you gently hold his hand while filing claws that got a bit too long. He’s ready to fall asleep, half lying on you as you brush out his fur, humming soothingly as you do it. It's in that relaxed half-awake state when he unconsciously tries to groom you back using his tongue. Will deny everything if you bring it up later. However, once you're officially together things change, and you'll end up with a lot more licks and Ace going after your neck and face along with a lot of nibbles.

Oh, the cuddling. Foxes cuddle not only to keep warm but also as a form of security blanket for each other. Their close physical contact provides comfort and reassurance within their social circles. Best believe anytime either of you has some stressful stuff going on a cuddling sesh is going to happen. He doesn’t even need to ask about sharing a bed since it's just normal for you guys now. Will still say he does it for your benefit, but we all know the truth. The nights he spends with you are the ones where he sleeps best, and he’ll get kind of grumpy if you don’t get to do it often. He’s clingy in his sleep and a living heater. Expect to either be used like a personal body pillow or straight up get laid on. Too bad for you if you get too hot or have to pee. The tail always manages to get wrapped around you. A cuddle pile with him, you, and Deuce is not uncommon.

Playing, there are the usual things he does for fun, along with his pranks but…for some reason chasing and catching you seems to be one of his favorites. Will give you a bite once he has you but is surprisingly gentle with it. That fluffy tail will swing around like nuts and the happiest noises make their way out of him as he rolls around on the ground with you in his arms. Tease him about it and he might give you a harder bite.

The others are sure he's making it his life's goal to have you always smell like him. You've lost track of how many times he's tossed a spare shirt or hoodie your way saying something about how a furless weirdo like you needs to stay warm. Arm over your shoulders, head resting on top of yours, if he's not touching you, he's at least sitting close. Gets grumpy if he smells anyone else on you and will straight up say you stink.

As far as courting goes, a lot of the guys assumed he was already doing it with how he already acts with you. Aside from him bringing you more food and getting into more fights it's mostly the same. Male foxes court the vixens and often fight with other males during breeding season. The female chooses which one receives her favors. The males follow the female until she makes her decision. The guys probably thought you were just taking a really long time to make up your mind or felt too guilty to reject him yet.

Fox Breeding and sex are mentioned below. ⬇️

Interestingly enough male foxes only produce sperm during their mating season. With many animals, the male is triggered into season by the female going into heat, but even after researching it for a whole day, I'm not sure if that also applies to foxes since this seems unique to them. What does this mean for Ace? Will he only be in the mood when his season comes around? Will he still be affected by his partner ovulating?

Or is this possibly something that wouldn't necessarily affect his libido but just means he'll be having dry orgasm until he's in season? I mean, the latter means no mess or need for contraceptives so that doesn't sound too bad, especially with giving oral so maybe we will just go with that.

Like a regular fox, he indeed has a knot. For some reason unlike wolves or dogs where it takes around half an hour for them to get unstuck from knotting, foxes stay together longer, typically for an hour but can go for even longer.

Foxes scream when they mate...a lot...and really loud. I'm not saying that he will actually scream but he can get pretty loud with the moans during sex and will make at least some fox noises.

After mating is usually when foxes get to work on their den. Since Ramshackle is away from everyone else he's likely going to consider your room your guy's den. Expect him to leave a lot of his stuff in there and if your bed isn't that big, he is going to make a pillow and blanket nest for you two on the floor, maybe it will even be like a fort. Perfect for cuddling in, mating, and having babies.

Does not actually want kids but that won't keep him from talking about breeding you during the act....now that I think about it, I think a lot of the twst dudes that don't want kids would do the same thing. "No baby, only breed."

#twst #twisted wonderland #twst x reader #nonhuman au #suggestive #ask #asks #twst ace #ace trappola/reader #twisted wonderland ace #ace trappola

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sehtoast · 1 month

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Perfect Punishment (Homelander x gn!Reader Smut)

18+ | spanking, leg humping, technically supe!reader (vague), sublander, light choking | Fic Directory

Suffice it to say, you're never quite sure how you end up in these situations. Granted, the common denominator in all of them was that Homelander was an endlessly voracious man in need of an infinite amount of attention, and he'd go to any lengths to get it.

Even this.

“Mmm, harder…” He hums as your palm strikes his rear, a playful grin etching into his face at the resounding slap.

“I thought this was a punishment,” you say as you rub soothing circles over the red of his briefs. “Doesn’t really count if you like it.” You're almost ready to stop and leave him hanging as a real punishment.

“Right, right. Ah! Ow!”

You roll your eyes at his theatrics. You'd teased him about being such a bad boy, but it seemed like he was all too happy to fill that role. His behavior cranked past ten, and now here you are: The Homelander himself bent over your knee, underwear pulled down just a smidge and pants at his ankles.

You're not even sure who made the spanking joke first, but god knows his eyes practically lit up like a Christmas tree at the mere mention.

For his smart comment, you swat significantly harder. You could never actually hurt him– maybe just sting him a little. In fact, you have a sneaking suspicion that the power dynamic reversal is what has him rocking against your thigh like the needy little thing he is. So pathetically horny at the idea of being weak and vulnerable for you.

Of being punished by you.

Not even his commentary could hide it.

“Oooh, that one tickled.” He snarks one more time, but his voice betrays him completely. A slight quiver in his words, a shaky breath exhaled, cheeks turning a light pink. “C'mon, babe. Give it to me. Unless you're all talk…”

Antagonistic little…

You grip his briefs and rip them clean off, revealing his bare ass to knead and squeeze to your heart's content. You loop an arm around his neck, restricting his throat between your forearm and bicep, tugging him just enough to make his back arch.

“You're a very bad boy,” you whisper, nails scratching his glutes. What little fabric survived the rip still miraculously covers his cock as he grinds against you unabashedly. You wind up for the swing and–

“Mmph!”

Like music to your ears, he chokes on the cutest little sound. Something squeaky and precious, surprise vocalizing high in his throat at your sudden brazenness and strength.

“You just wanted to hump my leg like a dog, didn't you?” You accuse, tightening your arm at his neck. You rub your last strike tenderly, letting your fingers slip along the curve of his crack. You can practically feel the way he shivers against you. “You’re makin’ a mess down there, aren’t you baby?”

Even pressed firm against your leg, you can feel his drooling cock twitch with need. The surviving scrap of fabric has to be drenched at this rate– you can almost feel the heated moisture and you know damn well his cock weeps practically the whole time he’s aroused on a regular day.

A breathy moan escapes his slack mouth the second your fingertips graze his sack, hips bucking forward to seek more of whatever delicious friction he'd found against your lap.

“You just wanted to lay on me and get played with like the little whore you are.” You trail your hand back and grip a cheek as hard as you can, nails biting into his flesh. “Admit it. You acted out for attention.”

“Mmm, yeah– fuck,” he confesses through a breathless whisper.

For his honesty, you reward him with a warm palm to his balls, feeling them tighten every time a pulse of pleasure surges through his body from how you play with him.

He keens softly, eyes screwing shut against the twist of bliss knotting in his core. He ruts even more brazenly than before, as if he wasn’t just getting spanked mere moments prior for always having to have his way. Your body rocks with the strength of his thrusts, so you angle your leg to press back against him. Sure, he was being ‘punished,’ but you’re not totally cruel.

“You wanna be my good boy, right?” You ask ever so innocently in his ear, breath fanning against the shell of it in a way that makes him arch further back. His mindless little nods make you grin sharply. “I thought so…”

Your hand comes down with a sharp crack against his right cheek and he writhes against you, mewling through his restricted throat.

“Count ‘em off for me,” you say, squeezing his neck a little more. You let off for a moment only to remind him to speak up if something’s too much, then squeeze again.

Slap!

“O-One!” He announces, hips bucking against you.

You can hear it in his voice– he’s like a time bomb ready to blow. His expression is infinitely more desperate. Hooded red eyes, cheeks burning a deep crimson, tongue peeking out just over the edge of his lower lip. If there was ever an image fit to sit beside whore in a dictionary, it was the sight of him like this.

“Tell me how good you’re gonna be for me after this.”

“I’m– I’m gonna be so good!” He promises through panted breaths. “Good for you– good f–”

You don’t let him finish before you swat his reddening flesh several more times in quick succession, watching with pure satisfaction as that mouth that never stops running opens to moan so loudly you’re almost sure the floor below must have heard it.

“N-Nine… No– no, fuck!”

Poor thing had to make a guess.

You tsk at him in false disapproval. “Good boys don’t lose count,” you say, even though he was definitely right. “Start again.”

And he did, too. By the time you make it back to the count of nine, his legs are quivering and his precum has soaked through the leg of your pants.

“Please, please, please!” He mewls desperately. “Let me– oh fuck, please let me come! Please, just– fuck I need it! I’ll be good!” He’s rocking against you without permission of any type as he spouts off promise after promise to behave himself for you. “Good– good b-boy… I’m your g’boy, I p-prom– ohfuckohfuckohfuck!”

And just like that, he’s blowing a thick, creamy load against you, legs spasming and glowing eyes rolling back in his head as you hold him through what must be an absolutely earth shattering orgasm if the full body trembling was anything to go by. Your name falls from his lips in a repeated prayer until all he can do is simply mouth it silently.

Your lips are to his ear the whole time, whispering affections and praise, adoration and love in droves.

“You are my good boy,” you say, accentuating your words with soft caresses to his sack. “My very, very good boy that I love so much.”

“M’your g’boy…” he murmurs weakly, eyes shut as he sinks into the glow. For a second, you think he might actually be calm for the rest of the evening.

Who are you kidding? He’s going to act up all night after this. You wager you've got about fifteen minutes of aftercare and snuggles before that switch flips and you're fucked on every horizontal and vertical surface he can possibly think of.

And you?

You’re gonna love every fucking second of it.

#homelander #homelander x reader #homelander fanfiction #homelander smut #the boys #antony starr

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its-wabby-stuff · 1 year

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Krang Will Rise

I have a couple theories, regarding the Krang.

There is such little evidence for it, that I don’t even think there’s evidence against it. But hear me out.

I think only Krang prime can abolish mystics. It’s not an ability tied to every Krang, only to him.

Thé Krang value strength above all else, putting no remorse into losing those deemed weak. As such, wouldn’t that make Krang Prime, their leader, the strongest? And what better way to deem yourself the strongest than carrying a unique ability that takes away your enemies greatest potential threat.

Another reason: it seems there are three types of krang. The biotech, the warrior, and the interrogator. I’m not sure how much they overlap, but I do think they carry specialities. Given krang brother is most often asked to- spread their krangness. He is responsible for krangification, domain expansion, and manipulating the technology they have (Nevermind how all these abilities make him the perfect match for Donnie)(also think Krang Brother is mute). Krang sister is the most skilled and best fighter. I’m sure she outclasses the boys in that regard. I’d go as far to say she’s second in command, leading the charge while brother krang stays behind (her role as commander matches as Commander O’Niels opposite in war, hence their quarrel). Leaving Krang Prime, who has the ability to dig into a persons mind, manipulate their captives, control the hive mind, and abolish mystic powers. Perhaps rare amongst Krang, this makes them the perfect leader (do I even need to explain why he’s Leo’s main antagonist, his opposite in every way?).

I mentioned how krang brother is likely responsible for krangification, which leads me to a second point. Clearly, from the start of the invasion to the end in the bad timeline, the krangs numbers increased 100 fold. From 3 lone survivors to hundreds if not more. Which has led me to wonder how krang are created. I have two theories: 1) in the bad timeline, the krang in the prison dimension didn’t die. Meaning that when Leo grabbed the key in the movie, and altered time, the resulting explosion caused the krang to be wiped out. 2) the probably more likely one- they repopulated.

Thé krang are clearly parasitic creatures. Meaning their reproduction is likely from a source, that source being humans. “Recreating this world in the image of krang.” Krang possession is simple, and any krang can do it, latch a bit of themselves to a human and start the battle of wills. Krang dogs are amother easier way to make more, a quick process that mangles the hosts body. We see this happen with the foot clan. But if you want powerful krang, with no chance to turn on you, and to truly become one with krang, you transform them.

Raph was found in a bubble. In a slimy krang cocoon stuck to the ceiling and filled with glowing yellow goop. He was going to be turned, transformed into Krang. And he was going to be powerful, his source material being stronger than most. He was- until the process was interrupted. Notice how the krangification didn’t come from the outside, it wasn’t attached, it was growing inside him. And, unlike the other krangified peoples we saw, his eye turned purple. It wasn’t just covered in hoop with the yellow hive mind eye, it was purple. Let it be a testament to Raphs inner strength cause he very well may have accomplished a feat deemed impossible to overcome. The process wasn’t supposed to be reversible, he wasn’t supposed to be able to break free, he was krang now. Krang Prime could feel his struggle, sense his resistance, and hear his thoughts as the turtle fought it off.

Once you turned, there was no going back. You were krang. Your old life didn’t matter. Your old friends didn’t matter. You had a new family. A new purpose to fulfill. New powers to explore. And given treasures for the hunt. The mark of a krang and a fucking massive piece of armor. This way of reproduction was useful when hunting new prey, as their knowledge of the species past through, truly allowing them to know their enemies and conquer planets. Krang can never die.

Then again. I could be wrong.

——————

Thanks for reading! Likes and Reblogs appreciated! Other related theories and stories:

Resistance to Krang; The Shredder armor; Emperym Life Blood

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tumblingxelian · 1 month

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Near Uniquely RWBY - Main Characters

I was chatting with my sibling the other day and we were joking about the fact in 90% of the media I consume I generally don't like the main characters.

Not in the sense I necessarily hate them, but I generally don't find them to be the most interesting, engaging or enjoyable person on screen or page. Instead I tend to gravitate towards secondary or minor characters and even minor antagonists before any of the big names.

Some of this is rooted in my often rooting for what tends to feel more like a real underdog or characters that feel like they got dealt a bad hand by the author unfairly. But its also that in a lot of media the main characters tend to immediately, slowly or quickly go into personality lockdown.

Becoming less a personality and more the embodiment of expected tropes and themes, or they lose their unique edge or circumstances because the plot demands one benefits or personality changes be heaped on them to keep the tone and story going.

Some examples of this would include say:

Ichigo from Bleach, with him and his supporting cast being very unique and super interesting during the initial arc. But as Soul Society came in, he became a much more standard Shounen determinator a the expense of his personality and his supporting casts were largely watered down & left behind.

Or how in Naruto or Dragon Ball the whole underdog/hard worker aspect of the characters felt undercut by legacy power ups and an endless wellspring of natural talent, alien biology, ETC.

I know these are just two examples, but they cover the general gist of what I mean.

So, what makes RWBY different?

Well, off the cuff, is simply that the four main characters are women.

I've often felt simply putting anyone other than a cis-het guy into the main character slot of say, a battle Shounen, or Isekai stands a good chance of making it more interesting by default. Even if the author does nothing with it the audience reaction would be different because the MC would be an exception to the norms.

In that vein, while one can call RWBY some sort of Shounen or adventure fantasy or magical girl show the main four are unique in how they manifest on screen at the very start. From how they participate in action, to how said action is structured and framed and the kind of adventures and topics they tackle.

But being unique alone is not enough, that would simply make it more interesting than the bog standard but what elevates RWBY is the execution and exploration of such elements and its characters.

Going into every aspect would be difficult, but in light of what I said above would be how each of the main four are initially presented as familiar archetypes, only to subvert or deconstruct them.

Ruby is a peppy goth who just wants to be normal but has inborn powers from her mysteriously vanished mother and serves as a beacon of optimism to others.

Except Ruby's version of normal still involved fighting death monsters with a sniper rifle scythe and she is actually one of the more ruthless characters. Her peppy persona obscures that she can have a pretty vicious temper when pushed and has displayed strong bloodknight tendencies.

Her unrelenting optimism and desire to fix the world is a complex mix of true beliefs, coping mechanism for trauma and her grappling with positions forced on her against her will. Her inborn power is potentially useful but also not that much of a game breaker outside specific contexts & said power sure as hell didn't save her mom.

Weiss Schnee is the Tsundere heiress of a powerful family, with a haughty attitude that hides her loneliness.

Except the "Tsundere" is more of a defense mechanism born of coming from an abusive home where every member of her family manifested a different trauma response. Freeze (Mother), flight (Sister), Fight (Weiss) Fawn (Brother).

Despite her upbringing & some projected trauma, she's far from ignorant as to the worst excesses of her nation early on, and her journey was more about overcoming the impacts her abuser had on her and finding a family in her team that let her be safe enough to let down her walls. Also despite being "The ice queen" she's actually one of the characters least inclined towards more ruthless actions and is extremely empathic.

Blake Belladonna is a mysterious and silent rougish woman, something of a shrinking violet even, but she carries with her a wounded heart thanks to her old flame, the edgy Adam Taurus.

Or more accurately, Blake is the daughter of activists and politicians who represent the worlds main discriminated against minority. She spent her youth on the road as a protestor and where even her father could be nearly killed by a lynch mob. She was targeted & groomed by a man who claimed to want to fight the same injustice she did but who was only interested in using the movement to grow his own power.

Her initial aloof-ness was a trauma response to having spent years under his thumb and overcoming him and the idea she had to 'save' him was one of the main corner stone so her character. Also, despite the "Revolutionary fighter" backstory she like Weiss is much less inclined towards ruthlessness than her team in large part because her past experience with it.

Yang Xiao Long, introduced as the fun loving big sister of Ruby & boisterous bruiser of the team who loves to party & flirt.

Except no, Yang was parentified as a child and forced to raise her own sister as their family unit fell apart. Her "Party girl" persona was outright framed as judging a book by its cover in her own trailer and something she put on or took off as she needed.

She became disabled over the course of the series run as well as entered a Sapphic romance with her partner Blake. Unlike the stereotype of characters with her design, Yang is actually an excellent student, fighter and engineer/mechanic. Plus much like her sister she tends to be of the more ruthless and pragmatic persuasion despite being from the "Normal" background.

Character Conclusion

So, all the characters break out of their initial archetypes, which already makes them more interesting. What's more, these sorts of characters just being oput together and made the main characters rather than circling a dude is in of itself unique.

But there are other aspects of the writing which endear me to how it handles the main characters and what keeps them interesting.

Anger & Violence

See, while in various media women do express anger at times it is still often far less so than men. What's more, often women's anger tends to be presented in... Less flattering lights.

With the anger obscuring fragility while in a man it conveys strength. Or implying a sort of hysteria rather than an appropriate or controlled response. Or worst of all being demonized in general unless its rooted in or coming from traditionally feminine places.

The same tends to be true when it comes to violence with a lot of media either trying to find some way to make women in battle less... Brutal than their male counterparts. (More more like fanservice) Along with rarely letting women fight men, unless they are a special exception to the norm.

RWBY does not do this.

The main characters, hell, all the women in the series express a multitude of different forms of anger and violence. They battle men, they battle each other, they battle monsters all with no distinction nor fanservice shot in sight.

What's more though is that said anger and violence are not presented as, for lack of better words, wrong. The writers don't draw overt attention to this fact, they don't hang a big sign up saying "Girls can fight & shout too" or the like.

They just present these women with a range of emotions, motives and actions that are treated according to what fits the theme of the show rather than hewing closer to gendered lines.

This isn't to say anger & violence are lionized, but more that the experience and usage of them is not demonized or undermined because of the characters gender.

I suppose what I am saying is that CRWBY by and large lack double standards when it comes to exploring these things that I see so often in other media. The women in the main cast, among the villains, both sides respective allies and beyond can be flawed, or angry or do both good and terrible things.

But the writers are always treating everyone's pain as equally valid regardless of gender or situation. Which means that the situations that cause anger exist within a tone of respect that forms the depiction and framing of anger itself.

Which is just something I really enjoy.

Thanks for reading!

#RWBY #Save RWBY #greenlight volume 10 #Team RWBY #ruby rose #weiss schnee #blake belladonna #yang xiao long #Some other series that do this or touch on it are She-Ra #The original Sailor V manga but less so Sailor Moon #& to varying degrees the Owl House #Thanks to Adam for helping me with the conclusion!

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bobbile-blog · 1 month

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Okay so I've finally gotten to Jessicalter's Oprec and now feel qualified to talk about Come Catastrophes or Wakes of Vultures. holy shit. This went straight into my list of top Arknights events. Fantastic event, spoilers will be under the cut so I HIGHLY RECOMMEND reading the event first. It's really good and worth your while.

Anyway, what follows is a scattered mess of thoughts about this event and things that stuck out to me.

First off, plot stuff! I'll probably cover this when I do my next plotline recap post, but what I took away from the end is that Clip Cliff seems to want to make Blacksteel independent, or at least more self-determining than it is now. He seems to be gathering resources and assets like mobile city plates and investing in long-term infrastructure like merc training, so he definitely has a long game he's pushing for. I don't think we know enough go speculate about his goals, but we'll definitely be coming back here again. After all, Tila has an infection monitor in her art, which probably means she's going to be playable at some point in the future.

Next, having looked into this a little on my own, I was interested in some of the previous places Raythean has shown up. Specifically, the ones that stood out were the drones in the Kazimierz Major and arming Silverash's forces in Kjerag, which might be referring to the Tschäggättä. It's not just notable for their apparent level of technology, but also as a faint connecting thread between three separate capitalism plotlines. I don't know if that's going to be meaningful in the future, but I found it interesting enough that I thought I'd bring it up.

Now on to more narrative things. While I love Liskarm and Franka, I do think it was the right choice to give them less screen time in this event. They're both (for the most part) fully-realized characters who understand their own motivations and morals. This is above all else an event about Jessica learning to stand on her own as an adult, so it makes sense that they're more here to support her than they are to play their own roles in the story.

Speaking of said roles, I liked the event's commentary on cops. It pointed out an interesting distinction that I wouldn't really have ever thought of, that between mercenaries and cops. To start: cops exist to protect property, not people. The police exist to protect things and do not have an obligation to err on the side of people over things, and in fact are supposed to do the opposite. This event understands that, and that role os the core of how the bank treats the Blacksteel mercs. CV, however, raises an interesting point that mercenaries are bound by the letter of a contract and not the larger obligation to property cops are, so they can actually raise moral objections and point to their contracts, sort of a Lawful Evil/Lawful Neutral to cops' Neutral Evil. The independence of their position with respect to cops allows for more of an independent morality than you'd get in a cop story and I like that, I think it's a really smart direction to take your writing in.

On a (mostly) separate note, holy shit Arknights is really good at writing cowboy stories. Between this and chapter 9 (and I would argue An Obscure Wanderer), Arknights has repeatedly made it clear that they Do Not Fuck Around with their cowboy stories and I'm surprised I haven't heard more people talking about it. It kinda has everything:

- It takes place in a rural, working-class setting undergoing a larger imminent societal shift that can inform the larger narrative, and deals with a semi-mythologized past that is rapidly disappearing.

- It has a protagonist and an antagonist that serve as foils, both very heavily affected and defined by the (same) violence in their past that they've both had different reactions to. Our protagonist has come to terms with the violence as a tool to maintain order, while our antagonist has used it for personal gain and in some ways lost control of it.

- It's a story about community, and heavily emphasizes local and personal community over larger artificial corporate "community". That's my reading of the recurring motif of the cold btw, warmth represents the close, personal community Davistown used to have and the cold that now pervades it comes from how the bank has systematically dismantled that community.

- And, I'd argue most importantly, it understands the narrative power of a bullet. The Showdown at the end of a cowboy story is powerful because we've spent the entire runtime of our story with these characters, and they are now facing each other down with the intent to end one of their collective two stories. The entire weight of the narrative so far comes to rest on a single moment of tension. It's really hard to gather up the kind of narrative momentum you need to make that hit like it does in CV. For example, it requires a really light hand with actual action in the story, so that it really does feel like it's an even standoff between our protagonist and antagonist. On the other hand, though, you do actually have to establish the relative skill of both parties and actually sell the danger of the moment to the audience. It's really hard to toe the line between tension and actual action in a way that makes for a satisfying resolution, and CV does it extremely well.

Honestly, Arknights just seems really good at getting the vibes of American media right. This is something I noticed in DV and Lonetrail too, and I haven't really been able to put my finger on what it is about them, but the vibes are just really on-point. I want to write more about this at a later point once I actually figure out what it is that I'm feeling, but maybe it's the setting, maybe it's the cast, maybe it's the plot points, maybe it's something in between — it just seems to understand the spirit of period cowboy stories in a way that I can't describe. Good shit.

Finally, I wanna end this with where Jessica is now. The events of CV take place In between the events of Loneterail and Ideal City, so the current "now" of the story is a few months ahead. Jessica left for the frontier along with Woody, Helena, and Miles. They live together in a small new settlement, building the place from the ground up with Woody and Jessica acting as town sherrifs. At the point we're at now, rhe town is fairly well-established and Woody has temporarily left on other business, leaving Jessica the sole sherrif of their new settlement. However, she's risen to her new station, and is growing into a stronger person than she ever was before.

#arknights #come catastrophes or wakes of vultures #jessica the liberated #Arknights thoughts

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aspenispoplar · 2 months

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Ok so here's my thoughts on dungeon meshi as a D&D party finally.

Okay so Laios and Falin's players (P!Laios & P!Falin) are actually brother and sister in real life. P!Laios got his sister to join him in the D&D game he was in. She was pretty shy and so wanted to make a healer character.

So their party plays the campaign for a while. Maybe a couple years or so. Mostly it doesn't have all that intense of a plot, but everyone's enjoying it.

Then in the dragon fight, Falin's player asks the DM if she can save Laios from the dragon's critical hit bite. The DM says sure but she only rolls like a 13, so the DM lets her save him by sacrificing her character, and she agrees.

Everyone's quite shaken up about it all, and to up the stakes the DM has the couple DMPCs/hirelings they had leave the party.

And now we get to the main focus of this headcanon. After P!Falin died, she wanted to make a new character, with a really different vibe from her old one, especially since she had gotten a lot more comfortable playing D&D now. In real life, she and P!Laios enjoy cooking together a lot, so she talked to the DM and P!Laios about it, and out came Senshi- P!Falin's new character!

P!Laios decides to try to help support P!Senshi's desire to focus more on cooking by taking out a book on monster cooking which he put in his inventory as a bit during character creation.

Basically it went like this

DM, (thinking to DMself: they're pretty overleveled now for the earlier layers of the dungeon, I should try and make it harder on them): so, you're running low on money. Even without the hirelings to pay, you need to sacrifice some of your expenses or sell some of your equipment to afford everything you lost.

P!Laios: Hey DM, how much do our rations cost? Because remember that meme book that I gave myself during character creation on cooking monsters?

DM: *very large sigh*

P!Senshi: *barely-restrained giddiness*

That's the main headcanon, but I also have other minor little headcanons about the other two player's characters.

Chilchuck's player has had some antagonistic DMs who loved torturing their players with traps in the past, so when they were told by the DM that the campaign was going to be "a pretty realistic dungeon crawl", P!Chilchuck decided to make the most roguey rogue of all rogues to ever rogue. They maxed out the trap-finding score to the point where the DM had to actually start including more traps for Chilchuck to feel a bit more useful, since the DM never actually planned on using very many traps in the campaign.

Marcille's player is a huge anime fan, and has made on-and-off jokes this whole time about the dungeon being some sort of bad isekai plot.

DM: Marcille, you feel a wet splash on the top of your head, only seconds before a slime drops on top of you.

P!Marcille: Oh? It's on my head? Is it suffocating me? Choking me perhaps...? Restraining me?

DM: Fuck you. Also you take 2 acid damage.

*everyone laughs at the DM's pain*

DM: There is a large plant monster in front of all of you

P!Marcille: Oh? Does it have vines? Like, tentacle-ish vines?

DM: You know what? It does now. It's rolls a 17 on grappling you. Have a good time with that.

P!Marcille: *waggles eyebrows* okay then

DM: I am going to hit you with my car covered in hammers rigged to explode multiple times and hammers go flying everywhere

While all of this is going on the DM is actually secretly very pleased to make a bunch of worldbuilding around the dungeon ecosystem and monsters and everything.

#yes im giving the DM (the DM/the DM's/DMself) pronouns no i will not apologize #the new characters that come in could just be new people #or maybe the “hirelings” (aka their earlier party members) weren't actually DMPCs at all and just took a short break from playing #before coming back with new characters #the DM is also having a good time actually starting to implement the plot they came up with a while ago into the story #(at least thats what i assume is going on with what we're hearing about that jester character who probably assasinated the king or whatever #dunmeshi #dungeon meshi #delicious in dungeon #falin dungeon meshi #falin touden #falin #laios dungeon meshi #laios touden #laios #senshi dungeon meshi #senshi #chilchuck dungeon meshi #chilchuk tims #chilchuck #marcille dungeon meshi #marcille donato #marcille #my headcanons #d&d #dunmeshi as a dnd party

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