atsumu thought of the day: covering him with lipstick kisses after he wins a game, and you try to wipe them off for him before he has to go do press. BUT he insists on leaving them on bc he thinks they’re a better prize than any praise he would get from the media for winning.
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haha i'm gonna be predictable
i'm giving you Tacita!! Ex-Ash and has a history with the OoW, currently a smuggler in LA that goes by the alias Unica. She's outwardly friendly and flirty depending on what she wants from you, but ultimately she's fairly misanthropic and doesn't like to let people into her life, the exception being her friend Amica, who is like, 75% of her violent impulse control. Will threaten you with the flash of a dagger and a toothy smile if she doesn't like you or is simply testing you. She's not really interested in anything beyond a brief no-strings-attached relationship, but she can be in any of the relationship/friend/enemy categories!
You're gonna get a predictable one back, mostly because she also doesn't really let people into her life.
Maara is passes through Lion's Arch with some regularity as keeping the airship supplied is best done at the Aerodrome, and being a Priory officer also requires occasional check-ins with the HQ. She's never felt connected to the city, but she knows it very well.
What the Magister certainly isn't above doing is skirting around protocol to keep her team well equipped and ready for anything. If the Priory can't get their hands on something, she definitely knows people who can and will procure such equipment straight from the source. This, of course, means that knowing smugglers and exotic goods traders is good for when you need something hard to get.
I'd assume meeting Tacita could easily happen like that, perhaps in some seedy bar or some such place. Maara is exquisitely confident and authoritative and it's often hard to get a read on her, that said she'll happily sneak in a flirt or two if she likes someone. As such, friends or friends+ with someone happens fairly naturally. Threatening or testing her, on the other hand, can very easily get you on her bad side and she's quick to butt heads. If she sees it as a challenge, she'll walk right into it, but if she sees it as unnecessary antagonizing she'll drop it like a pile of bricks.
Ultimately how well or how badly they could possibly get along would depend on how that initial encounter looks like.
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please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!
gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.
SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:
diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.
non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.
the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.
now, on to how I apply this to bdsm in fiction.
if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.
if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.
this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.
it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.
but yeah, spontaneous writer plug aside, that's what I mean.
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when a powerful figure is reduced to kneeling. when the lord is forced to bow. when the exile stumbles into an unwelcoming bar. when the “beast” is chained by their horns. when a god is dragged behind their enemy’s chariot, a captive and trophy. when the loyal “guard dog” character is muzzled and the silver-tongued thief falls silent in horror.
that’s the shit
it’s about the contrapasso. the reversal of roles and the sudden, plunging terror of being unable to hide.
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this is very self-ship coded (and dreamt up under the assumption that he's very rich) but whenever you're doing some online shopping and you refuse to buy something either bc of the price or bc it's something you just can't justify in the moment, keigo will make note of it from his spot beside you and it'll be in front of your door within the week.
he loves the way your eyes shine and you hide your grin as you half-heartedly scold him for spending money on you again. both of you know he's never gonna stop, anyway, and it's not like you ever expect him to do it, so why fight him on it?
(you try to make it up to him but he refuses).
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