Joan E. Biren – Eye to Eye: Portraits of Lesbians (1979)

the urge to have him pin me like that....

Aftercare is so sexy.

Aftercare is so sexy.

Aftercare is so sexy.

Aftercare is so sexy.

Aftercare is so sexy.

Oh, you mean there is no protection from the vulnerability cast through existence? There is no amount of hiding, no amount of running, no amount of cowering in fear of being found and used or exploited or mimicked or undone that will prevent you from being unearthed? There is no assurance that you will not be scrubbed of dirt and hung on display? Even if you manage to retreat from the like doubled billions of eyes turned to where you might tread there may be new eyes not yet formed that excavate you long after you have any ounce of will to stop them? For one to be seen by the other is so totally inevitable that endeavoring to be unseen only completely surrenders what little power you have over what you may present as yourself?

More of this actually cause apparently I’m Full of ideas

prob should've posted this with the last drawing but oh well. anyways SLIGHTLY SPICY BUT INTIMATE TERZOMEGA LETS GOOOOO!

Random idea while I'm currently sleep deprived and don't know what to label:

The Ghost would love you like a dog.

Always at your shadow, following you, guarding you. At least he can do that right, good for something, big dumb brute that he is, baring his teeth and growling for you, tearing out throats for you just for a scrap of affection.

Ghost would love you like a dog.

Waiting by the door, by the foot of the bed, by your side, and hoping, silently, that you'll get lonely enough to invite him up. And he'll take care not to show his eagerness, not to be too exited and overplay his hand.

Simon Riley would love you like a dog.

Like his rotten canines are falling out, panting and drooling and messy, desperately to leave marks on you. Because he's a Riley. Everything he's ever loved left bite marks on him. And he'll be dammed if he let's the world take away you too.

Simon would love you like a dog.

You could stab him. Kill him.

Burry his body in the cemetery as a sacrificial lamb, so you aren't forced to linger when you pass.

And he'd forgive you.

Dogs are like that.

Loyal.

Dead dogs are just happy your hand is holding the knife.

"blitz and fizz should have been brothers"

yeah, damn, you're right, if only blitz had a sibling he had a complex and turbulent relationship with 😔😔😔

A special kind of intimacy between characters

[Not restricted to romantic dynamics!]

- I tear bread into smaller pieces to feed them to you, as if I am Jesus, or a mother bird. You may view me as a savior but I would kill for you

- Being there for the other person when they're sick - In a gross, disgusting way. Holding them unwaveringly through the wretched and repulsive, unflinchingly. Don't apologise, just survive. I'd do it again.

- You're scary, but I'm scarier. You don't know that yet, but I hope you won't fear me when you do.

- You're scary, and thank God for that. I'm more than happy to close my eyes when you use it on others. I am a coward.

- One character knowing exactly what the other one would really like to ask for, but is too self conscious or selfless to. Thus, they do it and provide, without the other person needing to outright request it. The self conscious character always makes sure the other one knows it's not obligated and they're always free to decline, and the other one nods firmly, knowing that, and still doing it.

- Sitting next to each other at the end of the world. Because it won't be okay. But they've accepted that

- "You destroyed the thing I love and I can't forgive you for it." "I can't forgive myself either." "I still can't hate you despite that." "I can."

- "Please hate me" "No."

- One character understanding when the other is in too low of a state to act like a decent person currently, and so they don't step over those lines that they'd normally tolerate. The first character holds the other one responsible for things later nonetheless, when they're able to actually carry it

- Two characters sharing the negative perceptions and opinions they've had of each other over the years. This can either lead to a realization that, respectfully, out of deep understanding of each other, they decide to not stay in touch with each other again from now on. Or, it can lead to a realization that thanks to this understanding they now have, they're more ready to become closer and have managed to clear the air with this conversation

- Characters of notably different ages talk and reflect on time that has passed between them. They feel a connection over how different their circumstances were. The younger one audibly wishes they could've done or changed something significant, to which the older character pointedly and gently tells them it wasn't their place to. Let us old crooks handle the tough things. (It wasn't your fault you spent formative years like this. I'm sorry you had to)

what i like especially about the pronouns in the goblin emperor is that this language doesn't just have the T-V distinction (aka informal vs. formal second-person pronouns, in this case 'thou' vs. 'you'), it also has informal and formal first-person pronouns. having BOTH of these distinctions in the same language lets you fine-tune your tone by mixing and matching. with only one axis of formality, when you use informal pronouns, are you being familiar in an intimate way, or in an insolent or dismissive way? when you use formal pronouns, are you being polite or standoffish? you can't tell just from the pronouns; there's ambiguity. but a language where you can use a formal first-person pronoun in the same sentence as an informal second-person pronoun allows you to distance yourself (via the formal first) while also being familiar (via the informal second), thereby achieving the conversational tenor known to linguists as Fuck Thee Specifically.

Gaetan Henrioux – The Kiss (2012)

david. *crawling through his window* david. the fact that ed and stede have both experienced harmful effects from monotony/having to live the same existence day after day after day is going to be a significant plot point/source of emotional conflict in the third season isn't it. david. that's why mary gave that whole speech to ed and stede isn't it. david. stede was so depressed having to go through the motions, and ed was so depressed having to do the same, so the idea of that happening to their relationship is probably going to be a terrifying concept for both of them. david. david can you hear me—

linger

coffee break

Zakkura "So he never initiates, never asks, and waits." - inspired by a fanfiction we're friends, right? (very adult) by totosheadset