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ineffable-romantics · 9 months

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Some thoughts on why and how I believe Crowley and Aziraphale's relationship would incorporate sex/why I do not read them as wholly asexual:

This is something I've seen the most discourse about in this fandom, and I've had a few thoughts of my own that I really wanted to expand upon in a full meta/character analysis post. I do understand that this can be a contentious topic, so first, let me clarify a few things:

First of all, this is going to be long. Tbh it probably won't be that organized either. I ramble and I'm not very good at editing, so just... you know. Be warned. (*Hi, it's me from 2 days after writing this; I'm really not kidding, it's LONG)

These are all my own thoughts. They might not be hot takes, because recently I've seen more than a few people come to the same conclusions on a lot of these points as I have. But I've also had these notes in my drafts for about a week and a half now, and have been continuously adding to it as things have occurred to me. This post is essentially just somewhere for me to collect the separate but related meta I've been kicking around in my head.

I fully respect anyone who does see and prefer an asexual reading of this relationship. These are my own thoughts and interpretations as someone who is not asexual. I am in the LGBT+ community, so while I do know a few things about the asexuality spectrum, I am by no means an expert.

This is NOT something I expect, need, or even necessarily want the show (or, God forbid, Neil's tumblr ask box) to address. Tonally, it's just not that kind of show. Newt and Anathema's sex scene was very much played for laughs, and it worked for that reason. If the show found a way to address it in a way that was both appropriate for the tone of the show and ultimately satisfying, then great! But there is so much more to this relationship than sex, and I didn't need a kiss to confirm their love, so I certainly don't need a sex scene. As immortal beings (as I assume they'll stay) there is so much of the rest of their lives we'll never get to see. You can headcanon them as asexual and potentially be right. I can headcanon them as not and be equally potentially right. Again, these are just a collection of my own thoughts, because I think the question of sexuality (or lack thereof) is just as interesting a facet of these characters as any other.

Note: Tbh I've been second-guessing this whole post and debated deleting the whole thing several times for being silly or unnecessary, bc I don't want anyone to think that this is the only thing I care about when it comes to this story/characters. But if nothing else, it's inspired me to write in a way that nothing has in a very long time, so I've decided it's worth continuing, if for no other reason than that.

This is going to be a mixed bag of textual reading, subtextual reading, and a full-on reach or two. It's been a while since I've been in an English class, but if my teachers expected me to find a deeper meaning behind blue curtains, you can expect me to read too deeply into the symbolism of a loaded rifle or an ox rib. (This is probably not what my professors had in mind when grading my literary analysis papers but oh well) My point is, if it feels like a reach, I'm as aware of it as you are. I am in no way saying that all (or even any) of my points made were deliberate on the part of Neil or the actors or the writers or the directors. I am no longer the delulu Apple Tree Yard child of my youth, I promise.

If anything said here is in any way offensive or hurtful to anyone in the asexual community, please do not hesitate to message me or comment and let me know exactly what it was. I promise you it is not my intention to do so, and am happy to clarify or outright edit anything that reads that way.

With all that being said, let's talk about why I think Crowley and Aziraphale would absolutely fuck nasty incorporate sex into their relationship.

Note: I am out of practice with essay writing, so I think I'll just go down the bullet points of notes I have been making, and expand on each as best I can

Food

Where better to start than with Aziraphale's introduction to Pleasures Of The Flesh? (Just a heads up, this entire post may feel very Aziraphale-heavy, and with good reason).

This might be the least hot take here. We've all seen the Job minisode. We've all seen That Scene.

Whether this was intentional or not, the symbolism here is off the charts. Eve was tempted by an apple. So why not go a similar route and tempt Aziraphale with another fruit, or cheese, or bread, or literally anything else for his first experience with food? Instead, we go with a huge, glistening slab of fresh meat that he proceeds to absolutely go feral upon, moaning and gasping into his meal while Crowley watches with what definitely doesn't look to be disgust or even satisfaction with a good temptation. There's surprise at the ferocity of Aziraphale's appetite, certainly. But ultimately he looks to be intensely fascinated by it, while the thunder crashes, the music crescendos, and the earth literally shakes around them.

(It's also interesting to note how very little it takes for Crowley to tempt him with the ox rib. One murmured suggestion, a bit of unwavering eye contact, and vavoom Aziraphale immediately meets him in the middle.)

Cut to Aziraphale devouring the rest of the meat with Crowley splayed back on a makeshift bed, drinking wine and continuing to watch him indulge through half-lidded eyes. Outside a thunderstorm rages while they're learning secrets about each other in warm flickering firelight. It's cosy, it's intimate, and if they'd thrown in a bearskin throw blanket, it might as well be a post-coital scene straight out of Game of Thrones.

The next time (chronologically) we see them discuss food is when Aziraphale "tempts" Crowley with oysters in Rome. So Crowley first tempts Aziraphale with meat and then Aziraphale tempts Crowley with what is widely regarded to be an aphrodisiac. Interesting.

And then chronologically after that, the Arrangement begins to form, which has always reeked of a friends with benefits situation. Just to throw that in there.

It's What Humans Do

In the very first episode, we're shown Gabriel's obvious disgust and bewilderment towards Aziraphale eating sushi, calling it "gross matter" and being proud of the fact that he does not sully his body with it. Aziraphale initially tries to defend his own enjoyment in it, before passing it off as something that humans do, as something he simply has to do in order to blend in (which we know very well is not the case).

He does this again in season 2, passing off Nina and Maggie being in love as "something humans do". But it isn't, is it? Angels are beings of love, and can sense it, and understand very well what it is... up to a point. Even romantic love is obviously within their wheelhouse, given what we now know happened between Gabriel and Beelzebub (we'll come back to them).

What the "humans do" that angels wouldn't understand is messy, physical forms of love.

But here's the thing: Aziraphale and Crowley love doing what the humans do. They love drinking, they (or at least Aziraphale) love eating. They love music. Crowley loves driving and sleeping and watching rom-coms and sitcoms. Aziraphale loves reading and doing magic and earning little licenses and certificates for achievement in his various hobbies. They love to playact at being human so much that they've stopped playacting and started building a genuinely human lifestyle for themselves and with each other.

Once together in an unambiguously romantic sense, why do we think they wouldn't also want to explore one of the most prominent, intimate, powerful human expressions of love and desire with each other?

Angels, Demons, & Asexuality

Here's where I really want to clarify that in no way do I mean that sex is necessary for a healthy, fulfilling, and loving romantic relationship, or that the lack of desire for sex makes you any less human. Asexuality is a sexuality as valid and human as any. What I would say is that it is definitely in the human minority compared to allosexuality.

Angels and demons, on the other hand, are predominately asexual. Sexless/genderless unless Making An Effort. (Which, btw, is a concept introduced as early as the original book; why even bring it up as a possibility? Why not keep angels/demons being sexless/asexual as a hard and fast rule, if not to open up the potential for later use? Chekhov's Effort, if you will. And isn't that something that Aziraphale in particular is shown to do time and time again? He makes an effort in French and driving and magic, doesn't he?)

And this is why I don't believe Aziraphale and Crowley necessarily need to be asexual, narratively. There is already a huge amount of ace rep within the angels and demons (and no, not just the horrible ones. Muriel also doesn't "drink the tea" and has no reason or desire thus far to Make An Effort, and there are certainly other angels and demons who aren't horrible like the archangels seem to be who likely wouldn't Make An Effort either).

The central conflict for Aziraphale and Crowley is that they are on their own side, the ones who went native, the ones who are so different in so many ways from their respective hives. It would make sense for them to also break away from traditional angel/demon asexuality.

I say "traditional angel/demon asexuality", because I would also like to note that I would absolutely not rule out demisexuality for either of them. This post is being written to as a response to people who specifically believe that they (like the rest of the angels/demons seem to be) would be sex-averse in a relationship, and that it wouldn't be a factor in their relationship. I could easily read them as demisexual, but I do think there would be no real way of verifying this, because they've never been able to form as close an emotional relationship with anyone else but each other. Certainly not in heaven, and I can't imagine they would be able to form that kind of attachment with any of the humans, who they love and emulate but ultimately regard as the separate species they are. So yes, they could either be allosexual or demisexual, in my opinion.

Then again, now that I think about it, Making An Effort itself could be a great metaphor for demisexuality, since they would be entirely sexless/asexual until they have enough of an emotional connection with someone to consciously manifest otherwise. Since the other angels and demons don't generally form those types of emotional connections with anyone, there hasn't been a precedent for it.

Except...

Brielzebub

We do have a precedent for it now, don't we? Gabriel and Beelzebub fell in love. They are a direct foil for Crowley and Aziraphale's relationship, speedrunning right through their courtship and finding their happily ever after on the other side of things.

For being such a 1 to 1 comparison, it feels deliberate that they did not kiss. They held hands, they were gooey with each other, but they did not kiss. That feels like such a deliberate thing to omit when you know what's to come at the end of the episode between Crowley and Aziraphale.

And going back to the food = sex metaphor for a moment, let's notice how even as they fell in love over the years, even when pints and crisps were there on the table in front of them, they never felt the desire to reach out for them. They didn't need to. It's a date (love story) even if you aren't eating dinner (sleeping together).

Yes, I know Jim liked hot chocolate. No, I am not counting it because I don't consider Jim and Gabriel to be the same person with the same proclivities, and Jim was highly suggestible at the time anyway.

Gabriel and Brielzebub's big happily ever after moment (as of now) was one between two asexual supernatural beings. They did not need to kiss to drive the point home. They showed what Crowley and Aziraphale could have, if they would only acknowledge it.

Crowley & Aziraphale's Dissatisfaction

But they do have that already, don't they? If you really think about it, what do Gabriel and Beelzebub do with each other that Crowley and Aziraphale don't already? They hold hands, they spend time together, they create little rituals, they give gifts, they're visibly and verbally affectionate with each other, etc. They are more or less already in a romantic asexual marriage relationship with each other, aren't they?

And it doesn't seem to be enough for either of them.

At the beginning of the season, Crowley is immediately shown to be unsatisfied with the way things are. Obviously part of it comes from living in his car, but it seems to be more than that (especially since Aziraphale makes it clear that the bookshop is just as much Crowley's as his, implying that he could have been living there the whole time and is choosing not to, for some reason?). You could argue he's feeling unmoored without Hell telling him what to do, but isn't that what he wanted? Isn't that what he still wants, by the end of the season? All season long, he's never indicated the desire for a new job, or a new project. He stopped the apocalypse because he wanted the freedom to openly spend time with Aziraphale, to spend his time on Earth however he sees fit. Until Gabriel arrives, he has exactly that (minus a flat).

So where does the dissatisfaction come from? And if it represents anything to do with his relationship, what does he want out of it that he isn't getting already?

I think Crowley only really comes to the realisation of what he's missing when Nina names it for him, not only putting them in the category of romantic, but physical (outright asking if they are sleeping together). These two posts [1], [2] go into more detail about what I mean, but I think it really pushes him into acknowledging that their relationship is more human than either of them have stopped to consider, and what that might mean as far as everything a human relationship can entail.

After all, Nina and Maggie only advised that he should talk to Aziraphale, make clear his feelings. The decision to kiss him, to tip them over the edge from nonphysical to physical, that was all him. And no, kissing isn't sex, but I wonder how taboo even that might be in the kind of all-encompassing asexuality most angels seem to identify with. (If they're disgusted by food and drink, I can only imagine what they think of snogging, much less sex.)

Aziraphale doesn't have this moment of someone observing their relationship from the outside. He loves Crowley, and as of 1941 probably even knows he's in love with him in a way that Crowley doesn't understand yet. Which makes sense, since love is technically his job, he'd be more likely to recognise it for what it is.

However, Aziraphale's reference for romance and relationships is Jane Austen. It's chaste. It's dancing and dinner and doing sweet things for each other and roses and candles and handholding. He contextualises his love for Crowley in that soft fantasy sort of way, where it's there, it's obviously there, but it's neat and easy and unspoken. Not to quote Glee in this, the year of our lord 2023, but it's all very "the touch of the fingertips is as sexy as it gets".

Someone should tell that to Aziraphale's face, then.

I'm not going to pretend I know what Michael Sheen's script notes were, but there were definitely some Choices™ made. Because yes, there were plenty of moments in both seasons with Aziraphale looking at Crowley in a sweet, loving, smitten way. And then there were moments that were yearning.

But yearning for what, exactly? All of those sappy Jane Austen tropes already apply to the two of them. So why are there moments where Aziraphale is looking Crowley up and down like the last eclair in the window and licking his lips and visibly exhaling like he's trying to get in control of himself (see: Bastille scene + Crowley telling Muriel to ask him if they have any other questions about love)? Why is Aziraphale not only unconcerned when Crowley shoves him bodily up against a wall in s1, but staring at his lips and a beat too late in noticing Sister Mary's arrival? Why are some of his lines so suggestive? I'm sorry, but the car ride after the church explosion might as well have been the beginning of a Pizza Man porn with a really weird Blitz theme. If even my mother picked up on that vibe, I can't imagine it wasn't intentional on part of both the dialogue and the delivery.

(This section may feel like more of a reach/joke, but I'm really only 20% joking. These are writers and actors who are EXTREMELY good at their jobs; they know what they were doing here.)

More importantly, I don't think Aziraphale is even aware that there is more to what he wants. He lives in the Jane Austen fantasy and it never even occurs to him that he might be interested in anything further. It never even occurs to him that, as an angel, there is anything further to be interested in in the first place. Until Crowley forces it to occur to him. Just like I believe Nina forced Crowley to confront the idea that romantic love is what he's been feeling all along, I believe Crowley forced Aziraphale to confront the idea that physical intimacy is something he's been wanting, without even realising.

Aziraphale's Hedonism

Expanding on Aziraphale for a moment. We talked about his relationship with food, but we all know that Aziraphale is defined by his love of things that Feel Good.

It isn't just that he and Crowley love human things. Aziraphale loves the best of the best, or at least his version of it. He doesn't just love food, he loves going to fancy restaurants. He doesn't just love clothes, he loves soft, cosy, warm, plush clothes, or shiny, flashy, bougie fashion. He loves the warmth of tea and cocoa, loves getting drunk, and sitting in a comfy chair in the sunlight. He doesn't just experience, he indulges.

Given the emphasis put on things that Aziraphale loves just because they Feel Good, it feels narratively strange to assume that he wouldn't enjoy the feeling of being touched, or that he wouldn't be willing to try it, at least once, with someone he cared very deeply for. And just like the ox rib, I think that once he gets the first taste of things, he would absolutely tip over into complete and utter self-indulgence.

Dancing

I also think that dancing could be construed as a huge metaphor here. After all, we're told flat-out that angels don't Dance. Except one.

I would argue that Aziraphale, in fact, Made An Effort to learn how to Dance. He threw himself into the gavotte with delight (at a Victorian gay club; noted) and worked hard to be good at it. He's chomping at the bit to Dance with Crowley, working up the nerve to ask him with undeniably romantic intent and eagerness. So, angels don't Dance... unless they Make An Effort to do so.

We are told that demons, on the other hand, do Dance, but not well. Makes sense, since they're the ones who would want to encourage a deadly sin like lust, but have as little understanding of human love and physical intimacy as the angels. Crowley, however, is shown to be an excellent dancer at the ball, especially in his compatibility with Aziraphale.

(But Aziraphale WandaVisioned the ball so everyone knew how to dance! Yes, he did. However, the rest of the brainwashing doesn't seem to affect Crowley in any way, and they did actually live through the time period where this sort of dancing was a social norm; I'd be surprised if he never needed to learn. After all, the demons can't spell either, and Crowley is at least functionally literate, as far as we know.)

As of today, it's also been confirmed that when Aziraphale asked Crowley to dance, Crowley replied with "you don't dance." Not "WE don't dance". So going along with the metaphor, Crowley is just now discovering that Dancing is something Aziraphale is interested in at all, much less with him, and not denying that he himself is interested in Dancing. In his defense, I believe he was asleep for a few years while Aziraphale was learning the gavotte, so he wasn't exactly aware of Aziraphale's hot girl summer.

Love Languages

I want to expand on that; Crowley and Aziraphale's compatibility. Specifically in regards to their individual love languages.

We all know Crowley's love language is Acts of Service. I don't think there's any debate there. He loves it, Aziraphale loves it, they're both aware of it, we're all aware of it, God and Satan are aware of it, no surprise there.

You may disagree with me, but I believe Aziraphale's love language is Physical Touch, for a number of reasons. One of which being his aforementioned hedonism. Aziraphale likes things that Feel Good, remember? He likes soft clothes, and well-worn books. Neil himself has said that they like holding hands. And any time he is taken by surprise (Brielzebub getting together, the wave of love in Tadfield, etc.) what is the first thing he does? Reaches out for Crowley. He stops him with a hand to the chest in the pub. He leads him by the hand to the dance floor. He guides him by the waist in the graveyard. He reaches out during the entire Brielzebub scene, whether he can reach Crowley or not. Despite his own turmoil, he grasps at Crowley's back during the kiss.

The one time Crowley reaches out for him (not counting the kiss yet; we'll get there), he is aggressively pushed against a wall (by someone he loves and trusts) with a complete and utter lack of concern (and perhaps some interest, depending on how you read it).

And when he isn't reaching out for anyone, or there isn't anyone to reach out to? Well, he's wringing his own hands together, squeezing his own fingers, as if to find that physical comfort in himself.

So. With that theory in mind, we have Aziraphale (Physical Touch) + Crowley (Acts of Service). Throw in 6000+ years of deep love, cherished companionship, and forcibly repressed longing, and there is a very real potential of this combination resulting in fierce sexual compatibility. Where Aziraphale would want to touch and be touched, to indulge in physical pleasure with someone he adores, in the same the way he indulges in every other fine thing in his life. And where Crowley would want to indulge him in return, to give him everything he wants, and to take pleasure in Aziraphale's pleasure, in the same way he enjoys watching him take joy in food everything else.

So Aziraphale is an angel who is insecure about his own less-than-holy desires, who would want to treat Crowley like a luxury to be touched and cherished and adored. And Crowley is a demon who has, over the millennia, been unhappy about how they've been forced to deny even their friendship with each other, who would want Aziraphale to feel comfortable and safe and encouraged to indulge in earthly delights. That sounds like a stunning recipe for sexual compatibility to me.

"You said 'trust me'" / "And you did"

Just like the Job minisode, the Blitz is RIFE with symbolism (intentional or otherwise). This one will be quick, but I did want to touch on it because I thought it was interesting. Maybe I'm reaching at this point, but I'm assuming you read the tin.

First of all, Crowley not wanting to admit to never firing a gun before; comes off as someone who very much does not want to admit to their crush that they're a virgin ("You must have done this lots of times!" / "Umm.... yyyyyeah.")

(You could make the argument that Aziraphale having a firearms license and a Derringer in a hollowed-out book is symbolic of him not being a virgin while Crowley is. I disagree, for reasons I'll go into later, but it's a valid reading. However, I see it more like keeping a condom in your wallet; it's there in case you need it, but the opportunity has not yet risen no pun intended.)

More importantly, the theme of this entire minisode is trust. We already know they trust each other with their lives against the rest of Heaven, Hell, and the world. But specifically, this is about the importance of having complete trust in your partner in a charged, physically vulnerable, intimate moment, where the only danger is between the two of you.

Aziraphale needs to believe Crowley would never hurt him if he can help it. Crowley needs to trust Aziraphale's unwavering blind faith in him. Frankly, it all feels very symbolic of two people deeply in love losing their respective virginities with each other.

The trick is a success, and they share an intimate candlelit dinner in which they reaffirm their faith in each other. Aziraphale also begins to voice his agreement with Crowley, that maybe Heaven's rules shouldn't have to be as black and white as they are, and that there are benefits to... blurring the lines, shades of grey, wink wink (at which point even my mom was like, whoa guys, this is a family show).

Btw also: Can we all agree how much it looked like Crowley was getting ready to get a lapdance in that one scene? You know the one.

Also also: "Aim for my mouth"? Come on.

The Birds & The Bees

Now that I think of it, there's also something to be said for the fact that Crowley and Aziraphale are both obviously familiar with where babies come from (how they're made and how they're born) while the other angels aren't.

Something something Aziraphale and Crowley fundamentally understand sex and reproduction in a way the other angels (and probably demons) very much do not, nor have any desire to.

Probably not important. Just thought it was worth mentioning.

The Kiss™ & Religious Trauma

The Kiss. Where to even begin?

This has definitely been the hardest one to start, because there is so much going on here that I definitely won't be able to cover it all, and will certainly miss a few things here and there.

Aziraphale's reaction to the kiss afterwards is the most interesting to me. And I don't mean directly after, I don't mean the "I forgive you" part. I mean the way he touches his lips when Crowley is no longer in the room and he no longer needs to save face, when he is completely alone. Had it been directly after the kiss, it would have been rightfully read as horror, or disgust, a shield to discourage further action.

It's not. It isn't just a touch, it's a press. As desperate and angry and unexpected and imperfect as the kiss had been, Aziraphale is pressing it into himself, recreating the feeling as best he can. Beneath all the poor timing and shock and hurt from their fight and fallout, I think it's fair to say that it was something he enjoyed. Something he doesn't think he should enjoy, something that Feels Good that he only allows himself to indulge in when completely alone.

Remember, Aziraphale's idea of love is Jane Austen and gentleness and courtship and fantasy. If he'd ever even considered kissing an option, it might have been gentle pecks, cheek kisses, forehead kiss, hand kisses. Soft, safe, chaste affection.

Crowley's kiss turns all of that on its head. He introduces physical intimacy in a very real, very messy, very human way that I don't think Aziraphale ever even considered could apply to them. Considering what other angels are like and what they look down on, even Aziraphale's Jane Austen fantasies probably would have been considered taboo.

So for their first kiss to be rough and desperate and passionate in the way it was, of course he was confused and in shock. It was deeply physical, and as overwhelming and awful as it was in the moment, it Felt Good. Enough that he grasped at Crowley and kissed back, if only just for a moment, before stopping himself. Enough that he actively pressed it into his lips afterwards, in private, to remember.

I adore how Neil has decided to evolve these characters past the first book/season. More so in this season, Aziraphale and Crowley have both become such interesting allegories for queer people on either side of the spectrum of toxic religion. Aziraphale in particular obviously, because he is the side that so desperately wants to believe, to make a difference, and to unlearn all of the propaganda he's been fed over such a long time. Just like so much of organised religion, there is so much that he is told, time and time again, that he should not want, that he is silly or stupid or outright wrong for wanting. It reminds me so much of the severe Catholic guilt one might feel for wanting/engaging in sex for the first time, and the stigma of being queer layered on top of that.

What is so critical to Aziraphale's character is that he goes on wanting, and more than that, actively pursues. He was convinced to go up against Heaven and Hell and stop all of Armageddon because he wanted to go on listening to music and eating lunch and reading books and enjoying the simple company of the person he cares most deeply for, even if that person is supposed to be the enemy.

All this to say that if angels are as generally asexual/sex-averse as I believe them to be, narratively speaking, it would make sense for Aziraphale to be singular in that regard as well. Mirroring his first experience with food, it would make sense for Crowley to be the one to first introduce this new messy, physical, human dynamic between them, for Aziraphale to hesitate (obviously we are at the Hesitation phase at the moment), and then (eventually) for him to dive in wholeheartedly, to absolutely glut himself on this new thing that Feels Good. It would make sense for his character development to show him overcoming his metaphorical Catholic guilt and pursuing the sexual intimacy most (if not all) of the other angels would scorn.

(I can't help but remember that plot idea Neil described from the unwritten sequel, with Aziraphale in a hotel room trying to watch a full porno by way of the free 2-minute teaser clips so he wasn't technically sinning by paying for it. I so hope this is used in season 3, because gosh, I wonder why Aziraphale would suddenly be so interested in observing human physical intimacy after 6,000 years. Lonely and doing a little surreptitious research there, angel?)

Crowley, on the other hand, is the queer person who has broken free from his toxic religion. He prides himself on being his own person, on their his own side. He doesn't have the hang-ups Aziraphale does. He doesn't worry that he's going to be judged or cast aside for wanting things he's not supposed to. So it only makes sense for him to be the first one to suggest/initiate physical intimacy. It makes sense for him to be the one who "goes too fast" (another fantastic example of this dynamic beginning as early as s1; what is that conversation in the car meant to represent, if not Aziraphale being overwhelmed by the intensity of their relationship, and his fear of succumbing to it when he believes he shouldn't? It's also interesting that this is the first conversation to take place in Soho, just after watching Aziraphale realise he's caught feelings for a demon, with the red glow of lust serving as the backdrop).

Do I think the kiss in and of itself was sexual? No. I think it was a passionate and devastating last-ditch effort on Crowley's part to convey the way he feels for Aziraphale. Not just that he loves him, but that he loves him in the most human way possible. But I do think that the kiss represents how they can move forward from here, and what they might want to explore with each other once they feel free enough to do so.

In Conclusion

I am sure, deep in my bones (unless we are explicitly told otherwise), that this was both of their first kisses no, I'm not counting the gavotte, and that neither of them have ever thought to do anything else physical with the humans while they have been on Earth. Like I said before, they adore the human race and lifestyle in general, but ultimately view them as a separate species altogether, and they seem mostly happy to keep to themselves and each other, unless otherwise necessary. I just can't see either of them being drawn enough to a human to pursue anything close to sex. If Crowley in particular has had anything to do with sex in the context of temptations, I'm positive he would be inciting lust amongst the humans themselves, not involving himself directly. At least not that directly.

So, like every other human experience they've had on Earth, sex is something new that they could explore together, just the two of them, on their own side. A deeply intimate, tangible declaration of their love and everything they've gone through to earn it. A visceral finger to give both Heaven and Hell. A renewed appreciation for their corporations and for each other's. A enjoyable method for immortal beings to simply pass the time in each other's company. A new and exciting way to Feel Good, and all the variations that come with it.

You might agree with this post, or you might not. Whether this is something that is ever addressed or not, it doesn't matter to me. This is a brilliant love story either way, and I genuinely feel so privileged to witness it.

But I just can't find it in myself to imagine, given everything we know about these two characters, that sex isn't an experience they would both consume with wholehearted enthusiasm, curiosity, and profound, ineffable adoration.

___________________________________

Bonus feature: the very silly notes I made to myself that inspired this post

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httpsserene · 7 months

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𝐡𝐭𝐭𝐩𝐬𝐬𝐞𝐫𝐞𝐧𝐞'𝐬 𝐟𝟏 𝐤𝐢𝐧𝐤𝐭𝐨𝐛𝐞𝐫 𝐬𝐩𝐞𝐜𝐢𝐚𝐥

𝐮𝐩𝐥𝐨𝐚𝐝 𝟑: 𝐨𝐬𝐜𝐚𝐫 𝐩𝐢𝐚𝐬𝐭𝐫𝐢 𝐱 𝐫𝐞𝐚𝐝𝐞𝐫 | 𝐜𝐚𝐫 𝐬𝐞𝐱 & 𝐬𝐪𝐮𝐢𝐫𝐭𝐢𝐧𝐠

📖𝘀𝘂𝗺𝗺𝗮𝗿𝘆: your boyfriend has to make an appearance at some sponsor event. he's gone ahead and bought you an alluring outfit, but he failed to mention how seductive he looks in the new fitted suit his team got him. you two won't be staying long, but you increase the pace by riling him up, mostly unintentionally. so it's your fault that he makes you ruin his loaned mclaren. 📖𝗰𝗼𝗻𝘁𝗲𝗻𝘁 𝘄𝗮𝗿𝗻𝗶𝗻𝗴: 18+ only. explicit. squirting. car sex. semi-public sex. ooc (out-of-character) oscar. overstimulation. mild possessive behavior. mild jealousy. vaginal fingering. vaginal sex. condom usage. the audacity of men. lando norris’ savior complex /jk. author’s overuse of italics and run-on sentences. 📖𝘄𝗼𝗿𝗱 𝗰𝗼𝘂𝗻𝘁: 5k words 📖𝗽𝗮𝗶𝗿𝗶𝗻𝗴: oscar piastri x fem!black!reader 📖𝗴𝗲𝗻𝗿𝗲: oneshot. 📖𝘀𝗼𝘂𝗻𝗱𝘁𝗿𝗮𝗰𝗸: water • tyla

𝗽𝗿𝗲𝗳𝗮𝗰𝗲: what can i say, y'all. back at it with the unhinged thirst. every time i do one of these, they've been getting shorter and shorter. don't be afraid, for #4 (dr/mv) i'll be back on my game, they deserve it. yes gremlin lando appearance. also, i cannot imagine oscar ever acting this way, that's why i put the ooc tag? it's definitely a fun read tho (i think), along with the smut! thank you, loves, for the support on this event!

want to be added to my general taglist? or my f1 kinktober taglist? send me an ask!

thank you to my betas! @biancathecool for helping with my grammer and @barnestatic for her wonderful spoiled brat idea :))))

cross-posted on my ao3, httpsss

if you want to look at what i'm planning for ktober, or catch up on previous uploads here's my f1 kinktober masterlist and my general masterlist for all of my works!

oscar is known for his unfazed, composed and collected demeanor. he’s aware that some people say he has no personality–but, he’s just an introvert at the end of the day. oscar’s a man of few words: that’s what people who aren’t well acquainted with him would say. if you’ve had the pleasure of sticking around oscar long enough for him to become comfortable with you, you’ll learn that oscar has an incredibly complex personality. he’s overly sarcastic, has a niche sense of humor, and can ramble endlessly at you. but, he’s still a fairly calm and quiet individual. which is why the way oscar is about to scream at the top of his lungs in the middle of this mclaren event, would be considered uncharacteristic of him.

he originally invited you to join him tonight thinking that having you by his side would eliminate the social exhaustion he experiences at these types of sponsor events. however, the aussie failed to realize that you may introduce a…different problem, to tonight’s business party. when oscar asked you to join him two weeks ago, he was prepared for all of your objections–you’re both chronic homebodies, and you both hate partaking in small talk with balding, later-aged, cologne-drenched, white men who don’t know when to let a conversation die. he chose the perfect time to ask you (after you emerged from the bathroom post-self-care bath), and addressed all of your grievances.

oh, you don’t have anything to wear? he already bought you an outfit, had it altered to perfectly fit your measurements, and bought you a pair of heels and a purse to match. oh, you won’t be able to get your hair done in time? he already scheduled an appointment with your usual hairstylist the day before the event, paid all of her fees, and tipped her very nicely. oh, your nails aren’t done? he booked you a spot at your preferred nail salon for a premium mani-pedi, and has a few nail inspiration photos picked out if you can’t decide. if you need your lashes done or need to get waxed, he can make the call right now; he has them on standby to fit you in.

knowing the amount of phone calls oscar had to partake in to arrange all of this causes you to fold and agree to join him. there’s nothing more the two of you hate than making phone calls–well, besides the pr events.

oscar had chosen an alluring burnt-orange mesh corset and matching ruched ankle-length skirt that looks beautiful against your warm, soft and shining brown skin. your hair is silk-pressed, length reaching your mid-back and your edges are laid in a minimal manner, matching the simplicity of your makeup look. simple gold rings are spread across a few fingers, ears accessorized with a pair of small good hoops oscar gifted you, and his initials rest in the dip between your clavicles attached to a thin gold chain. objectively, you're considerably modestly dressed, the only skin you're showing is on your arms, shoulders, a smidge of your decolletage, and the tops of your feet in the low-heeled strappy sandals.

this is the start of what oscar failed to account for. he didn’t expect the outfit to hug your curves like plastic wrap. the whole night he’s had to forcefully deny himself the opportunity to stare at your ass, but that doesn’t mean the other men at the event have the same courtesy. he’s taken to burning holes with his eyes into anybody who lets their gaze linger over your form for a second too long. on a regular day, oscar is generally unaffected by anyone who appreciates your body (they can look, but the second they try to touch–you let them know exactly how they had you fucked up), but if he catches one more mclaren engineer undressing you with their eyes–he will make zac fire all of them; he’ll plan his own race strategy and do his goddamn pitstop by himself.

oscar also didn’t account for how your timid and sweet attitude would have everyone enamored with you; at first, watching everyone eagerly attune to your shy words was amusing to him, but it quickly became a nuisance. he was originally leading you around the room, doing his rounds at any important figures’ tables, and everything was fine. and then, oscar had made the obvious mistake of making you laugh–a pleasant stream of giggles spilling from your lips, dimples deepening, and smile widening at whatever small joke he made. he’s always thrilled to see how you throw your head back in amusement, how your hands clap together gleefully, and how your eyes squint in from the force of your laughter. as he shakes himself out of your dazzling trance, he attempts to rejoin the conversation–but every single person at the table remains entranced and wide-eyed at you.

this would be completely fine, of course, if it was a one-off occasion; but it’s not.

suddenly, every person oscar tries to thank for supporting mclaren, starts ignoring him and paying more attention to you. he’s literally the pilot of the car that these people are spending an absurd amount of money on, but they can’t even bother to try and pretend to listen to him. men and women alike are finding any excuse to prolong conversations with you, and even lean within your personal space with the excuse that ‘they can’t hear you very well because you’re so soft spoken.’ nobody can invade your personal space, but oscar. he has no choice but to do the very thing he hates–pda. you continue to circle around the room, his hand constantly resting on the small of your back or the dip of your waist. when you’re in the middle of listening to some completely unnecessary story a man is telling you, oscar constantly adjusts your hair, plays with your rings, and smooths down your skirt if he feels like they’re trying too hard. you banish oscar to getting you a glass of water when he begins to interject in conversations in a passive-aggressive manner.

his third strike off the night, might actually be an overall win in his books. when you saw oscar in his new fitted suit, you stared him dead in the eye and told him to ‘get naked and rail you’. it’s this beautiful deep cream color that pairs perfectly with the dark orange tone of your outfit, but the vest underneath the suit jacket highlights his tiny waist so clearly that it makes you want to scream. in between socializing, you overwhelm oscar with compliments, unable to stop telling him how handsome he looks. you surgically attach yourself to his side and hug his arm; taking an occasional squeeze of his bicep, playing with his cufflinks, and tracing the veins on the back of his hand. oscar practically runs to get you a refill of water because he’d be unable to stop himself from getting fully hard if you touched him any longer–the trousers hide nothing.

he can feel your burning gaze from across the room, and turns back to watch you after asking a waiter for water, and catches your eyes roaming the length of his body. in high-definition, he sees your tongue wetting your lips before you bite at your bottom lip–and then, your attention is stolen away from some random man who’s introducing himself to you and the group of ladies you found yourself accosted by as soon as oscar left your side.

and, that’s it for oscar. he thinks he may have heard his last-fucking-button being pressed inside his head, and seethes. he goes to push off from his leaned stance against the counter and makes to start his warpath, but a hand grasps at his shoulder. oscar turns around snappily, biting out an irritated and sarcastic, “can i help you?”

“woah! calm down now, mate. thought you were going to bite my head off for a second,” it’s lando, “if i were anybody else i’m sure there would be an unfortunate tabloid of ‘how oscar piastri is the most rude f1 driver on the grid’” lando jokes teasingly, yet a hint of seriousness leaks into his tone.

oscar nods, understanding the underlying warning within the brit’s teasing. he apologizes softly to lando, before glancing back over at you, and can infer that you charmingly informed the man that you have a boyfriend—based on the way you point in his direction. oscar watches the polite smile fade from your face as the man continues to bother you, and the murderous look rises to his face again.

“OKAY”, lando claps abruptly, startling not only oscar, but everyone in a 10 foot radius. lando waves everyone else’s eyes away, smiling like he didn’t do anything, and speaks underneath his breath, “go. i’ll cover for you.”

oscar’s mouth drops open, baffled, “what?”

“leave—get your girlfriend and go,” lando says matter-of-factly, his smile becoming genuine, “zac probably won’t like to hear that you looked particularly murderous, and he definitely won’t like hearing that you slaughtered our sponsors, and that i let it happen.”

oscar snorts before he thanks lando sincerely, and the brit dismisses him, “i’m just looking out for my rookie teammate as the senior driver for our team. i can’t let your horny teenage mindset become common knowledge to our esteemed guests.”

“first of all,” oscar says dryly, his grateful mood dissipating at the mocking, “i didn’t even know you knew the word ‘esteemed' existed,” lando scoffs, “and secondly, you are literally only two years older than me.”

lando looks at oscar with a blank stare and deadpans, “do you want to leave or not?”

oscar daps up his teammate in farewell, and makes his way over to you as quickly as he can without seeming desperate, your glass of water left behind on the counter. your back is facing him as he approaches and you're still unwillingly participating in conversation with the man who can’t take no for an answer. as he gets closer, he can piece together the conversation; the dude doesn’t believe you have a boyfriend and you must be lying to him, and you’re adamant that your boyfriend is very real.

“look, bro. even if i was lying about having a boyfriend, why would i give you my number now? like, i’m just supposed to forget how you’ve been harassing me—“

oscar rests his hand on your side, and when you turn your head to see who’s touching you, he leans down and kisses you. it’s a kiss deep enough to let everyone know who you’re leaving with tonight, but not deep enough to be salacious (he can hear lando’s cackle from the other side of the room).

you melt into his kiss before he pulls away, leaving you dazed and disoriented, stumbling into him. oscar drapes his left arm around your shoulder, guiding you to tuck into his side, while he offers his right hand to the offending man for a handshake. “it seems i haven’t had the pleasure of meeting you yet. i’m oscar, i drive for mclaren,” he introduces himself, sounding overly pleased.

the man angers, ignoring oscar’s extended hand and cockily states, “you should already know who i am. my family nicely lent you the mclaren you drove here tonight!”

“ah,” oscar smiles viciously, “if ‘your family’ kindly lent me the car, that would explain why i only remember your father’s name–and not his arrogant, disrespectful, and narcissistic trust-fund son’s name.”

the man stomps his foot in rage, like a spoiled brat, and questions, “who do you think you’re talking too?!”

oscar smirks, “nobody important, apparently,” (one of the ladies listening whispers a quiet ‘damn, that’s crazy’), oscar continues, “don’t worry, mate–i’ll make sure your father’s car returns home to him safely. should i bill you for any cleaning, in case i make a mess of it?”

the guy stumbles over a response before he scoffs and stomps away. oscar shrugs uncaring, before addressing the group of ladies who were cliqued to the side watching the whole interaction, “well. if you all don’t mind, i’m just going to steal her away from you ladies, if that’s okay?” (like there’s an option). the ladies fawn over oscar’s protectiveness before they let the two of you go, and then he starts herding you towards the exit.

it’s torture. in every five steps the two of you take, you're interrupted by various guests trying to catch you one last time. oscar feels like they’re all intentionally aggravating him; patting you on the arm, commenting on how eye-catching you look, and using the fact that the two of you are leaving to press a kiss to your hand in goodbye. you two burst out of the main doors and sigh in relief, for different reasons–for you, it’s because oscar didn’t give one of his sponsors brain damage, and for oscar, it’s because he’s one step closer to getting you in his bed.

you grasp at oscar’s hand, and he starts to lead you down the steps towards the valet, and as you fall into step at his side, you speak softly under your breath, “i can understand why you kissed me like that inside because the dude was being an asshole–even though you were marking your territory like some kind of dog–but, please; don’t tear this poor man’s throat out for helping me into the car.”

the australian remains quiet, properly chastised and works on releasing the pent up effect of the annoyances from inside the venue. everything is going well; the valet asks oscar for his parking ticket, and he goes to grab the keys, but stops just before he makes to start heading to the car, and turns back to you two and says, “i don’t know if i told you when you walked in but–you look incredibly beautiful tonight, miss. you could be a model, seriously. like, you should feel so lucky to have a woman like her–”

all attempts of oscar finding his peace are thrown out of the window. he interrupts the dude’s rambling, and bites out, “hey man, y’know what. i can just take the keys to the car. we can walk to it.”

the valet stutters, confused, “a-are you sure, i mean it’s like pretty far in the back. i can run and get it no pro–”

“it’s FINE! i mean, it’s cool, we can use the extra steps, y’know. enjoy the breeze and everything,” oscar says, slightly maniacal. there’s no breeze, it’s warm. the valet’s and your eyes meet for a second and a shared thought of “he’s trippin” is passed telepathically.

the valet concedes, not wanting to upset the f1 driver any farther and tosses him the keys. as the two of you are passing by, oscar hands the man a bill that’s probably too big based on the man’s astonished gasp. you call out to the man, continuing to walk further in the lot, “sorry about him! he just gets a little touchy about strangers driving his car, y’know?” oscar grumbles lowly next to you, and you smack him on the arm, “what did you want me to say? ‘oh sorry, my boyfriend just wants to fuck me really badly to soothe his needless jealousy?’”

“as long as he knows who’s the one who gets to take you home and fuck you.”

“oscar!” you squeak, “we both know we’d die of embarrassment if you said that. i can’t even imagine those words coming out of your mouth, in that order.”

you guys eventually puzzle out where the car is after several remote beeps of the car’s horn, and find that it’s literally tucked away in the last row, far corner with no surrounding cars for two rows.

oscar doesn’t open your door like he usually does, and leads you around to the driver's side. he opens the door, pushes the seat back as far as it goes, and sits down. without saying anything, he loosens his tie and goes to unbuckle his belt before you reach down and grab at his hand, bewildered, “oscar jack! what the fuck are you doing?”

he blinks, “i’m fucking you, right now. it’s too long of a drive back—i’m going to crash the car if you keep sitting next to me in that goddamn outfit. i was going to take you to the bathroom inside, but i figured you’d at least prefer the car. you can be a little louder here.”

your mouth dries, “you said they loaned you an incredibly rare, vintage mclaren, babe. i’m not gonna-“

oscar wrestles his way out of his suit jacket, spreads it underneath him on the leather seat, and pats his lap. “problem solved.”

shifting your weight, you glance around nervously. oscar is right, you would prefer the car over the bathroom. all those people inside who could overhear, gossip, and spread the news of how rookie mclaren, f1 driver, oscar piastri, had you yelling his name in the middle of an event. you’d pass.

“oh, c’mon now, babe. you didn’t think i saw the way you were eating me alive with your eyes inside,” your boyfriend teases, “i know you‘ve at least gotten a little wet for me already, haven’t you?”

that’s all it takes; the australian acting possessive and feening to get inside you is more than enough to have you straddling his lap and pulling the car door shut with a slam.

oscar tugs you into dirty make out, and you get lost in his pink lips, tugging teeth, and explorative tongue. the last of your breath tapers out in a reedy moan, and you break the kiss to pant against his lips, and oscar laughs. his laughter spreads through your chest, and it has your hips rolling against the bulge you feel underneath you. his amusement is cut off, and his hands fly to grip at your hips. he starts tugging you against him in a filthy grind, and choked off moans from the two of you start to fill the car.

you press kisses to oscar’s jaw line, paving a path down to his wide strong neck with your tongue. you suck on small patches of skin, not using enough suction to leave a mark, but enough for oscar to become aware of the fantasization that you could. the aussie gasps at every random suckle of your lips as he scrambles to pull the skirt up your legs. you shift your hips up to make it easier for him, as your hands feel down his torso to his belt. it unbuckles fairly easily, and you shove it out of the way, to unzip the slacks and pull his cock out.

oscar moans, throwing his head back at the feel of your hand on his length, and you get entranced in the trap that his pale thick neck is, again. you hum against his neck, introducing teeth alongside the ache of the suction of your mouth, and bully the collar of his shirt out of the way to find a space to leave a few marks. oscar’s breath freezes at the first hickey he feels you leave, but the rapid inhale he takes next clears his mind enough to have his right hand pull your panties to the side, and move to caress your heat.

you shudder on top of him, your breathy sigh amplified within the car. oscar sinks two fingers inside of you, and a much louder moan is tugged out. your hands fly up to grasp onto his shoulder, and your head tilts backward away from his neck in pleasure. his fingers thrust into you gently for a few beats slowly working to open you up for him and once he feels your cunt starting to relax, his thumb reaches to press at your clit. whines fill the air, as you lean all the way back, resting your back on the steering wheel allowing oscar all the space he needs to stretch you out. his fingers start curling as they drag out of you, and you can feel the pads of his fingers rubbing over a soft spot on the front of your walls.

oscar’s eyes were stuck marveling over the overwhelmed expression on your face, but once he starts feeling wetness dripping down his arm he glances down, and curses out a rough, “fuck, baby—you’re dripping all over me.” your cheeks burn hot, and you can’t tell if that’s out of humiliation or the effect of his awe-filled voice. your right hand releases his shoulder, and bats at his arm, before tugging at his wrist to pull his fingers out, “that’s enough, mmm, just get in me already.”

oscar eagerly draws away; he uses his clean hand to tug his wallet out of his back pocket, and tugs a condom out with a smidge of struggle before handing it to you. you snatch it out of his hand, biting it open and rolling it over his cock, and once it’s on, you tease, “jeez, osc. you really were planning on jumping me in the middle of the event tonight—grabbing a condom and everything; you think i’m that easy?”

he chuckles, satisfied, his hand drenched in your wetness rubbing over his cock to get him slick, and teases back, “you’re about to ride my cock in the parking lot of said event, pretending to be worried about ruining the seats of this vintage car. i’m not calling you easy, but it doesn’t hurt to be prepared, does it?”

your cheeks are definitely burning from humiliation this time around, but you huff, ignoring him checking you. you tug his hand away, raising your hips, and guide him to your entrance with your own hand, before slowly sinking down.

twin sets of moans fill the air as he bottoms out; one of his hands reaches to palm at your ass (it’s sticky, so it must be the one he fingered you with), and the other grips at your waist tightly. you squirm on top of him, knees barely managing to find enough room to prop on the seat to give you a stable base. once you feel stable in your cramped position, you give a testing grind of your hips, and from there, it’s lights out.

oscar lets you set the pace for a few thrusts, suffering in the languid rock of your hips; you’re torturously tight around him, and he can only groan at the feeling of you wrapped around him. his chest heaves, before he brings both hands to halt your hips, and starts fucking up into you rough and quick. a scream jostles out of your throat at the unexpected change of speed, but you just take it with no complaints, allowing yourself to go limp against the wheel of the car to hold your body upright. he moves your body for you, pulling you downwards to meet his upward thrusts; and you feel him constantly applying pressure against that one tender spot right under your navel.

your boyfriend revels in the sound of the moans he’s punching out of your throat, admiring the way your head is thrown back—mouth open wide, eyes scrunched tight, lips bruised and bitten to hell. it’s a lewd picture, painted by himself. the car rocks along to his frantic rhythm, windows fogging, and sweat begins to form on both of your skin. the aussie’s core tightens; he won’t last much longer, you’ve had him half-hard the whole night.

a frustrated grunt escapes oscar, and you hum questionably about to ask what’s wrong–but his right hand leaves your waist to furiously start circling your clit, and an ear piercing shriek leaves you. “c’mon now, babe. ah-be good and come f’me yeah? im so close, baby–please,” he babbles, the last shred of sanity leaving him. his hips don’t falter once–to you it feels like they’re moving quicker, every sensitive spot receiving attention from the sharp snaps of them.

you cry out, it’s all too much; your hand reaches down to press against his navel in a feeble attempt to stop him from stroking so deep and roughly, and incoherent pleads try and tumble out of your mouth, “mm! osc–no! ah–too much, baby! it’s too much–hngh–feels weird–s-slow down!” it’s like his ears are filled with cotton; he can hear you begging down at him but can’t make out what your saying over the blood rushing in his ears. he’s trapped staring at your pretty cunt, watching the obscene amount of wetness coming out of you–the suit jacket underneath him is completely ruined, and he off-handedly thinks it won’t be saving the leather upholstery.

your legs start quivering and trembling–it damn near looks like you're freezing to death, even though the car has become as humid as a sauna. your own orgasm shocks you, and your eyes roll back erotically–unable to give oscar any warning. and in your last moment of awareness, you realize that something feels different, but it’s too late.

you choke on your scream of, “oscar, fuck!” as fluid gushes out of your cunt, and the first wave is enough to completely drench oscar’s pants, and oscar finally returns to the moment in amazement. he eagerly brushes his hand against your clit, and shortens his strokes to quick little jabs to force more of your juices out, and you can only ride along. you try to slam your legs shut, to jostle oscar’s hand away, but it’s futile with his torso propping you open for him. you’re sobbing messily, as he forces more liquid to spray from your cunt–and he moans out his own orgasm, ripped from him in surprise. the australian halts his stimulation this time around when you frantically tug his wrist away when the pleasure melds to pain, and allows himself to get a few more jerks of his hips in.

you fall forward, collapsing into his chest–the squelch of your thighs meeting his pant-covered ones has him humming and grinding his hips into you as gently as he can. the two of you shake against each other, hearts rabbiting as you catch your breath. oscar’s hands rise to rub at your back, bringing you down from the aftershocks still trembling over your body.

“i-i’ve never squirted before,” you whisper into his neck.

your boyfriend hums softly, “did you like it?”

he feels you nod against him shyly.

“then, it’s nothing to be embarrassed about,” he comforts, knowing if he seems approving of it, you’ll be quicker to accept it as something good, “how i’m going to explain the ruined suit and car seat to mclaren on the other hand…”

a shaky laugh from you causes oscar to smile, “i told you you shouldn’t fuck me in the car.”

“how was i supposed to know that tonight would be the night i’d made you gush all over me?! i was hoping that when the time came we’d at least be on a couch,” he whines.

“shut the fuck up,” you joke, “i want a live play by play when you explain the cleaning bill to zac.”

the aussie pauses, faking thoughtfulness, “maybe i should send the bill to the trust-fund baby. zac would back me up–he’s american, he’d probably find it hilarious.”

oscar gently shifts you over to the passenger seat, and you tug your skirt all the way down, and he fights his way out of his slacks that stuck to his thighs with your wetness. he manages to wrangle them off and kicks them to the side of the car floor along with the soiled suit jacket, after fishing the keys out of them, sitting out in his boxers, and glances over to see you adjusting your appearance as best as you possibly can.

“you want a mcflurry?” the aussie offers.

“as long as we can get a fry with it,” you smile at the random shift in conversation, allowing him to hide his embarrassment.

oscar turns the keys in the ignition, and the engine rolls into life with a deep, vibrating hum. he catches your legs pressing together tightly, and you squirm at the purr of the engine under your seat.

“well,” oscar starts nonchalantly as he reverses out of the spot, “you have the time that it takes to get from the drive-through to the flat to finish eating–because as soon as we get home, i’m taking you to bed and learning how to make you squirt, consistently. i don’t care how long it takes, or how many orgasms you have–i’ll keep going ‘til you come dry, babe.”

taglist: @lorarri @soph1644 @jaydensluv @fanboyluvr @nissaimmortal @redgonerogue @hollie911 @saintwrld @buendiabebeta @butterfly-lover @lana-d3l-rey @dylan1721 @spicybagel14 @dhhdhsiavdhajj @miahgonzalez16 @jjaekin @dkbj14 @f1lover55 @f1lov3r @mindless-rock @biancathecool @barnestatic @sweetpiccolo-blog @my-ylenia @zaynzierulez @reblog-princess

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fairuzfan · 4 months

Note

Hey, I've read your post reply on the ask about the Standing together movement, and there you mentioned that it's incorrect to separate Palestinians and Jews and create a false dichotomy when speaking about liberating Palestine and anti-occupation movement. Could you please elaborate on that? It's a very interesting take that I haven't heard before yet.

So I generally don't understand why we are separating "Palestinian" and "Jews" with no potential for overlap between the two. By separating them, this implies, fundamentally, that there can be no Jewish Palestinians which... is not true. Just even historically, Jewish Palestinians exist and continue to exist.

Why are they mutually exclusive terms within their mission statement when they wish to "stand together"? And I'm not saying this in a condescending manner, I'm saying this because I know there are Palestinians who live in Israel who insist on being referred to as Palestinian. They won't let their Palestinian identity be erased under any circumstances. But they're the only group at risk of having that happen to them. Jewish people are not at risk of having their Jewishness erased for being Palestinian. So how can it be "standing together" when you acknowledge that there is a divide, societally, between perceptions of identity where one is at risk of total destruction by another and you, yourself, do not risk anything?

Where do Jewish Palestinians fall in this dichotomy, exactly? Does that mean no Palestinian will be able to convert to Judiasm without giving up their Palestinian identity? Are Jewish people just innately separated from Palestinians as a whole? If so, what is the thing that categorizes "Palestinian" in their eyes? Is it their religion? Well it can't be, because Palestinians have a diverse array of religions and like I said, people who identity as Palestinian and Jewish exist and are at risk of having their "Palestinian" erased in favor of their "Jewish" one.

Is it their ethnicity? Also can't be, because there is a vast array of ethnicities within Palestinian society. Unless they mean Palestinian=Arab, which is erasure. It erases Armenian Palestinians who play an integral part in Palestinian culture, for example.

So like what is the separation exactly? How are these mutually exclusive categories and how are we defining them? Unless, which is the reason that underlies all this, you mean to say that there is a difference between people who are Palestinians and people are Jewish innately in some unidentifiable manner?

Now, many Palestinians who have Israeli citizenship are not really subject to equal rights lol. And those rights are taken away *because* they are Palestinian. You have to acknowledge that. So when we say "Jewish and Palestinian" in a mission statement where you intend to """solve""" inequality, you're already setting that distinction in your mind that there is an actual difference between these people. So it's problematic in that vein.

But also, the group doesn't address the systematic abuses Palestinians face for YEARS, even before the Likud government. You can't erase that and attribute it to Netanyahu only. You have to address that the very system of Israel was founded on the mass expulsion and erasure of Palestinians, that includes Palestinian Jews.

But again, we have this dichotomy of "Jewish" and "Palestinian," setting into motion that "Palestinian" is somehow an identity that is separate from "Jewish." And through what definitions are we imposing that difference? Through... race science? Through cultural differences? Well, again, what about people who have cultural overlaps. Like if a nonJewish Palestinian marries a Jewish person who is not Palestinian and their child is growing up with both cultures? What does that mean for them? What does that mean for the two people who got married? And even Jewish Palestinians, are they having to give up their Palestinian side for marrying someone Jewish? Won't that cause further inequality within our groups? Isn't this separation just a nicer worded version of segregation in that way?

We have to acknowledge that it is within the state of Israel's interests, at their core, to separate these two identities. So by playing into this narrative, we're continuing the very colonization of history as they try to rewrite the past, implying that Jewish Palestinians especially were not considered a part of Palestinian culture and werent allowed to partake in it.

And it's just, to me, very racist to assume that there can't be overlap between these two types of people. It's happened in Palestine for centuries. But when Balfour comes in and is like "here you go, Jewish people of European cultural heritage, here is your homeland, nevermind the other people who have customs and traditions here, just do whatever you want and get out of Europe," everyone just nods their head like yeah that's reasonable. They didn't even try to learn Palestinian culture and life they just kicked us out. I'd argue that Palestinians would have welcomed Jewish immigrants who sought a safe homeland, so long as they didn't kick us out and enact nearly a century of violence. Palestine is the holy land for a reason! This land is the convergence of faiths and ideas and culture in such a unique way. Labeling it "Palestine" emphasizes that Palestinians are diverse and allow for an overlap of identities!

Essentially, when you try to separate groups of people like this, particularly when the separation of "Palestinians" (or more commonly referred to as "arabs" in Israeli society. Even our identities are erased to homogenize us) and "Jews," it makes it seem like Palestinians are fundamentally anti-jewish and antisemitic. And historically, just doesn't even make any sense.

#palestine

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wordstome · 3 months

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how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

youtube

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

#anti ai #cod fanfiction #c.ai #character ai #c.ai bot #c.ai chats #fanfiction #fanfiction writing #writing #writing fanfiction #on writing #fuck ai #ai is theft #call of duty #cod #long post #I'm not putting any of this under a readmore #Youtube

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diedicontroversial · 9 days

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[discourse] in defiance of the author’s wishes (re: mxtx fandom)

table of contents : context : moral arguments : addressing the legal side of things : closing remarks

Context

on March 17, 2018, mxtx posted:

“As long as you don't split or reverse the top/bottom positions of the main couple, I won't mind what you ship. I myself have a lot of fun shipping couples in mainstream shows, and isn't reading all about finding joy? You can imagine freely or ship whoever you like, just don't break up or reverse the top/bottom positions of the main couple.”

(I realise that the 不拆不逆 “no splitting or reversing” rule might be implicit within the entire Chinese danmei fandom, so i do not wish to single mxtx out. for example, i know that Chinese 2ha fans also go around policing people who ship, say, chu wanning with shi mei — so this isn’t just a mxtx thing. although i do not know if other danmei authors have explicitly stated “no splitting or reversing” since i have not been a part of other danmei fandoms.)

Nevertheless, “no splitting or reversing” became the constitution in Chinese mxtx fandom. Fans parade around with the slogan “拆逆死“ which means “kill yourself if you split or reverse”. Since the pronunciation of 拆逆死 (chai-ni-si) sounds like “chinese”, some fans on the Chinese internet have been putting “chinese” in their bios to mean “kill yourself if you split or reverse”.

From now on I will be referring to split/reverse ships as cult ships, as Chinese fans like to call them.

There are two main consequences of the “no splitting or reversing” rule (on the Chinese internet):

You will receive permanent bans with no option for appeal if you post cult ship fanworks in the novel communities on Weibo

It is implicitly agreed upon that you are not allowed to use individual character tags, the novel tag, or the author tag when posting cult ship content on any platform. So, for example, if you write Wei Wuxian x Jiang Cheng, you are not allowed to use #weiwuxian #jiangcheng #mdzs #mxtx. The name given to this conduct of tagging only your cult ship is 圈地自萌, which means “enclose a piece of land and amuse oneself within it”. You are not allowed to step out of your land.

However, not everyone agrees with the practice of “don’t step out of your land” — this includes people from both sides of the debate. Some official shippers believe that cult shippers should not have any land to begin with, and purposefully leave the cult ship tag unblocked so they can police cult shippers at every opportunity. Some cult shippers believe that because their ship involves the individual characters, originate from the novel written by the author, they are in the right to use the individual character tags, the novel tag, and the author tag, and that people who dislike their ship should just use the block function.

Moral Arguments

There are two main types of moral arguments that Chinese official shippers make.

1. If you split the official ship, you condone cheating behaviour and that makes you a bad person.

The first argument is too trivial so I will leave the refutation as an exercise for the reader to do at home /j

2. You are not respecting the author's wishes and that makes you a bad person.

The author has wished many different things. For example:

Screenshot 1 translation: I strictly forbid any crowdfunding or fundraising related to me, my works, or my characters, regardless of the purpose, whether it be for celebration, group buying, rankings, charity, or any other named activities.

Screenshot 2 translation: Once again, I emphasize: No new social media pages related to my works are allowed, nor organizing readers in a roundabout way, whether it be for celebrations, group buying, rankings, charity, or any other named activities. Please also refrain from flamboyantly organizing any collective birthday events.

Screenshot 3 translation: I've repeated many things many times and do not wish to repeat myself. Could everyone please just listen to my words occasionally.

(A brief aside before I address the second argument, something I used to say when debating Chinese fans: “I don’t think people who violate the author's wishes mean any disrespect. I don’t think they’re shipping or hosting charity events or birthday parties out of spite, but rather, it just so happens that the author prohibits a ship they enjoy or an event they organise. Just because I cult ship, for example, doesn’t mean I hate the author.” And they would respond: “if you really liked the author, you wouldn’t go against her wishes. You do not deserve to like the author. You are a mxtx anti.” And I would say, “I like my mom a lot, but I won’t listen to everything she says, simply because I don’t think everything she says is right. Plus, I don’t think the world can simply be explained by like vs. dislike. Also, Xie Lian said this: [For instance, if you admire or like someone, you won't always treat them well, no matter what happens.]” But then the most hilarious thing happened, in the revised version, a rebuttal for that scene was added:

【”For instance, if you admire or like someone, it doesn't mean you will always treat them well, regardless of what happens."

"Why not?" San Lang questioned. "If that's not possible, it only shows that this so-called 'liking' isn't anything significant."

Xie Lian shifted the conversation, asking, "Then... does it mean that aside from liking someone, the only other option is to dislike them? Are these the only two attitudes one can choose from?"

San Lang chuckled and retorted, "Why not? Right is right, wrong is wrong. To love is to love, to hate is to hate. Why can't things be clear and straightforward?”】

… ah.)

To address the second argument for real, i believe that producers retain no moral authority over the methods by which consumers engage with their products. for instance, i believe that choosing not to follow the official “twist, lick, and dunk” method when eating oreos does not constitute disrespect towards the oreo brand. Or to use another analogy, suppose a farmer selling apples insist that you peel the apples before eating them. I believe that it does not make you a bad person if you choose to eat the apples unpeeled, despite the farmer being the one who watered and harvested the apples from their trees.

I am thinking of potential counterarguments, and the strongest one I came up with is: “but products like oreos and apples are fundamentally different from intellectual property.” And I think the main issue here is that, to employ economics terminology, the content of novels like tgcf is a non-rivalrous good (not the novels themselves but the abstract content), which means that my consumption of it does not reduce availability to others. In other words, unlike Oreos or apples wherein after I purchase them, the specific items I bought are no longer physically in the hands of the vendor; after encountering characters like Shen Qingqiu, Shen Qingqiu still exists abstractly in MXTX’s head. This gives the illusion of ownership on the author’s part. I want to be very careful here because I think it’s easy to equivocate between different uses of the word “ownership”. I am not arguing that the author fails to retain ownership in negation of all the blood, sweat, and tears that went into the creative process, i.e. their copyright. Instead, I am contending that, just as I paid for my Oreos and apples, upon my purchasing of the Seven Seas version, the paperback Chinese version, and the revised uncensored version of TGCF on JJWXC, the author does not own the ways by which I choose to engage with these fictional entities. Once a work is made public, its ontology becomes independent of the author’s intent, and in all its readers’ heads exist distinct versions of the characters, in effect making them belong to all of us.

(There. As a bonus I have also resolved the issue of not being “chinese” enough. Ah, is this a bad place to make a communism joke?)

Addressing the legal side of things

In 2022 I wrote to the legal team at AO3, and here is their response:

Regarding the “moral rights”, that’s actually a thing. Upon receiving lots of spam from 12-yr-old readers that “you are breaking the law”, I did a quick Baidu search (China’s Google) concerning the legality of splitting/reversing ships. Surprisingly, the search results yield “yes, it’s illegal”, and hence the 12-yr-olds' confidence. But that is akin to getting a cancer diagnosis from searching symptoms on Google. So I dug deeper.

After reading tens of published papers and court cases, here are the key takeaways of what I found:

Given that intellectual property rights are a bit behind in China, they have largely based their laws on US copyright law. As organizations like OTW continue to fight for the rights of transformative works in the US, China probably will just follow suit.

The semantics of “distort, mutilate, or otherwise harm the integrity of their works in a way that harms the author’s reputation” is very vague and debatable. There are at least three ways to interpret it (I think one of the papers I read offered four). The first is that they only have to prove that you distorted the integrity of the work. The second is that you satisfy the condition of harming the author’s reputation. The third is that you satisfy both conditions (integrity of work and author’s reputation). It depends on the court.

None of the court cases pertained to unserious, just-for-fun fan works. Usually what happens is someone makes a film out canon, for example, and sell it for profit, or someone publishes their own novel which contains characters from another published work.

And that is for China only^ if you live outside of China, you are under another country's jurisdiction.

Closing remarks

I am addressing this issue because it has impacted me and my friends in many ways. "kill yourself if you split/reverse the official ship" is probably the least of our concerns, mainly because it is such a popular phrase that we've become desensitized to it. @/Eleven receives private messages on Lofter on a weekly basis of people wishing her entire family to get murdered. A hualian main friend of mine has been posted to Weibo for following me; and I had to pull a Shi Qingxuan with "hey let's not be friends anymore if being associated with me is gonna get you cancelled".

mxtx has been through a lot and i understand where she's coming from. and maybe, the people who identify as "kill yourself if you split/reverse the official ship" don't truly mean it -- maybe they're just expressing their love for the official ship.

Recently i've been seeing the sentiments I used to only witness in Chinese fandom surface on Twitter and sometimes I worry that western mxtx fandom is going to turn into Chinese mxtx fandom, with the in-group/out-group mentality -- you're either with us or against us. At the end of the day, I do like mxtx, I admire her tenacity and I think she's a brilliant author, I love her works and the characters in them. I simply do not want to be backed into the corner of "anti" due to not following every order she gives.

祝墨香和她的粉丝们平安。

#mxtx #tgcf #heaven official's blessing #mdzs #grandmaster of demonic cultivation #svsss #scum villian self saving system #scum villain #discourse

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utilitycaster · 5 months

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It's become stunningly clear with this most recent episode that Imogen and Laudna's insularity, mistrust of everyone else in the party, and refusal to take responsibility for their actions is at the heart of the disconnect and lack of bonding within Bells Hells. It is not the only reason - I think Orym's constant smoothing over of issues in the interest of forward motion has certainly exacerbated the situation - but it's a significant and unavoidable factor. I'm hoping that while the actual exercises of the team-building probably won't themselves fix the issues this party has, addressing the various secrets that are now out, specifically the ones that touch on issues that affect the functioning and dynamics of the entire group, actually might.

As this post notes, their unwillingness to question each other or develop any conflict resolution with each other means they tend to, even if unwittingly, dogpile the rest of the group by acting as a singular voice. In a small conflict-averse group, this tends to constantly overwhelm the conversation. This is worsened by Imogen's psychic abilities, which permit her to glean information about the others without the need to have a conversation; it means the others in the party frequently start with two votes against them before they've even said anything.

They also both suffer from a pretty profound lack of boundaries. Again, Imogen's psychic abilities are invasive, frequently unwelcome, and often lead her to both jump to conclusions and to police the behaviors of others without considering their actions nor giving them any chance to have a full conversation. It also means she controls what information the rest of the party knows, as her interpretation of someone else's mental state is the only thing they're given when she reads someone's mind. Laudna, meanwhile, is extremely quick to trust, while also taking any deception as profound betrayal. As a result, they both tend to take a hot-or-cold approach to the others in the party based on the other person's most recent thought or action. They are prone to black-and-white thinking and snap judgments, which, as the next paragraph indicates, has serious ramifications.

Imogen and Laudna are terrible about actually talking to people and getting anything out in the open. This includes each other; again, see their frequent unquestioning support or the claim that their relationship defies words (which it does not; as of last episode this has culminated in Imogen revealing that, in fact, she is disgusted by a fundamental reality of their relationship, which is absolutely not something that can be addressed without a pretty intense conversation.) We also see this in how they've taken Fearne's choice not to take the shard. While, arguably, they had heard Fearne express her concerns about the shard to Morri by the time of the honesty exercise (which would make their behavior even worse), even if they hadn't, that's two voices shaming her for without hearing her side of the story. It's in sharp contrast with Chetney, who also expresses his disappointment with Fearne in episode 3x78, but immediately follows it up by asking her why she didn't want it. Imogen and Laudna never take it upon themselves to ask her how she feels or why she made that choice and let her explain; they jump straight to judgement.

That failure to ask ties into the final element of why they are the weak point in Bells Hells' communication: they are just as guilty as Ashton of "violent projection of responsibility", but unlike Ashton have not realized the depth of this flaw and the consequences it has not just on their own life but on the others in the party. This is less of an issue with Imogen with regards to Bells Hells (in fact one might argue she takes far too much responsibility in that she apparently sees policing the party on the basis of their thoughts to be her duty, though I would note that unattuning the circlet leaves her, the person with the clearest ties to the Vanguard, vulnerable to the powers of others within the organization) and far more so with the gods, from whom she apparently expects instant gratification. However, this is at the core of Laudna. It's true that she is by no means the only powder keg within the party; Chetney and FCG's abilities are also dangerous. However, one must take into account that Laudna has been aware of Delilah's presence for, as she has repeatedly stated, over three decades now, and only now realized the implications thereof, whereas Chetney became a werewolf less than a year ago and immediately took steps to mitigate the threat he posed, and FCG only learned of their condition within the past few months. Like Chetney, she has learned to remove herself from situations in which she could pose an immediate threat, but that slow learning curve and lack of proactivity is not promising for the future. It's also true that, keeping all other circumstances identical, the impact of Laudna's loss of control is far more dangerous. If Chetney bites someone or FCG attacks, unless they kill someone, the damage and curse can be undone and the power within them is unchanged. The same is not true with regards to what happens if Delilah makes Laudna absorb a magical item or a soul.

While everyone in Bells Hells shares some responsibility for the current state of affairs, Imogen and Laudna are without a doubt the primary source of toxicity. I think the others have become aware that they are in an environment in which Imogen is likely to either shoot them down, read their minds nonconsensually, or make insensitive suggestions, and that Laudna will nod along next to her as she does. It does not feel coincidental that Fearne chose not to voice her concerns and that Ashton avoided the group conversation entirely. This again does not absolve Ashton or Fearne of their deception of the party, but it does explain why they might feel an honest conversation is impossible. Unpacking what was said during the Honesty exercise might finally allow Bells Hells to excise this rot and to begin a new era of group conversations in which everyone feels they can say what needs to be said without fear, but it will be an effort to be sure.

Because it's me, I think it's worth noting that the fandom emphasis on absolving Imogen and Laudna of any accountability (which I've spoken about at length and have had on my radar for a long time now) is obviously not the cause of this behavior in-game, but does echo it in interesting ways. I'm not sure I would have realized the extent to which they evade responsibility in-game without this mentality being so prominently in the fandom. It explains why they are never expected, by many fans, to even achieve as minor a task as "asking Fearne how she feels instead of letting their own feelings dominate what they think she should do", let alone set boundaries for each other. But ultimately, that is the key: I think the only way for this party to achieve the trust they need is through the assertion of those boundaries. When Bells Hells know that they have the freedom to disagree with each other without being accused, dogpiled, ignored, or told to get it together, only then will they be able to actually come to true consensus rather than the fragile and tenuous teamwork they have had so far.

#critical role #critical role spoilers #bells hells #imogen temult #laudna

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bluegiragi · 1 year

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hello! i'm gira, i go by she/her, and i've been making fanart for the cod fandom for about four months now :) the majority of that time's been spent on the soapbox saga, which is sort of just what i call the very plot-ridden porn comic featuring ghost, soap and konig. and recently i've been working on the monster 141 au!

i'm here to address the reasoning behind how i assigned certain monsters to certain characters, particularly the POC characters as well as accusations of racism regarding me neglecting gaz in all my art :) whoever you are, if you're reading this in good faith, i thank you! i earnestly never intended to make anyone feel uncomfortable from my work.

The Monster AU

i won't post the blog who brought this issue up mainly because, (realistically speaking) i think people might go after them and spam them with hate so I'm paraphrasing here. but basically..."how come all the POC in the Monster AU are assigned animal-associated monsters? Comparisons to animals can be incredibly demeaning when it comes to minorities".

I completely agree! But earnestly, I think my desire to assign every character a 'monster' that was relevant to their culture overshadowed the part of my brain that would've raised red flags about this sort of thing. There's the argument here that I could've assigned these characters cooler monsters such as Price who is a dragon, and Ghost who is a wraith, but I wanted to be respectful of all the minorities in the COD cast by giving them creatures that reflected their culture and personality.

ALEJANDRO - NAGUAL

In the Monster AU, Alejandro is a nagual, which is considered a guardian spirit in Mesoamerican culture. Typically, it's said that the nagual is the shapeshifted form that powerful men can transform into in order to do evil (although that doesn't apply in this case, Ale's a heroic lad), and can come in the forms of a jaguar, deer, dog or bird. I chose a jaguar, since it seemed to be the most common form of nagual depiction in the resources I was looking at. The 'panther mode' isn't pre-established as part of nagual mythology, but since most panthers are just black jaguars, i thought the association wouldn't be unreasonable.

I chose Alejandro to be a nagual because it's so in character for him to be protective of his home. The idea of him being a literal guardian spirit for all he considers his just made sense to me :)

RODOLFO (RUDY) - CADEJOS

In this AU, Rudy is the vessel for two cadejos, which are legendary dog spirits popular in the mythology of Central America, parts of South America and Mexico. Historically, they've been known as psychopomps (guides to help humans into the afterlife following their death) but modern interpretation has shifted to depict them as the good guardian dog and the evil attacking dog respectively.

A lot of the minute information about the cadejos tends to differ depending on the source. Like whether they're actually two separate dogs, or they're the same dog just in different 'modes', or how big they are. My personal depiction of them has them sized as normal dogs (although their spirit nature means they can move into small spaces pretty easily by just becoming immaterial temporarily) and as separate spirits that have been passed down through Rudy's family generationally.

I chose the cadejo for Rudy because although I wanted to include him in the Monster AU, i still liked keeping him as a character who was a bit more 'human' than Alejandro. I think Ale needs Rudy to hold him back sometimes, and having the two cadejo definitely helps with that. Sort of like how cheetahs in zoos have therapy dogs growing up because they're so anxious all the time! I think it also does a good job of showing Rudy's two sides as well, like he's a softie who just wants to protect those he loves, but he's capable of a lot of violence too.

VALERIA - GORGON

Valeria is a gorgon which, admittedly, is not part of Mexican mythology. However, I was put in a bit of a bind here, since my research didn't really reveal to me a monster in Mexican culture that I thought would suit Valeria's vibe (manipulative, elulsive) and I just felt like a gorgon would be perfect for her. Medusa's myth has her being continuously demeaned by the men in her life and is a symbol of female empowerment, which I thought was a great reflection of the implied reason that Valeria left the army was due to internal sexism. There's also the perfect parallel of how anyone who sees El Sin Nombre's face dies, and Medusa's whole 'turn you to stone' thing.

I thought i could compromise by making Valeria a gorgon but her hair would be Mexican black kingsnakes but...turns out they're actually not that dangerous. Some people even keep them as pets! So I decided to keep the visual, but make her a pit viper, a subfamily of vipers found in the Americas as well as Eurasia.

HORANGI - HAETAE

Horangi is a haetae (해태) which is a beast in Korean mythology that typically comes in the form of a horned lion or dog. It's prevalent in a lot of cultures in East Asia actually, although it goes under different names depending on the region - kaichi for Japan, xiezhi for China. I made Horangi a tiger variant on the creature because...well...'horangi' means 'tiger' in korean. It just made sense to me to put that little twist on it.

Typically, haetae are seen as spirits of judgement, that decide on innocent and guilty parties in disputes and punish the latter. It's also considered a guardian against fire (hence the fire immunity and cloud manipulation powers I gave him).

GAZ - HARPY

Gaz is a harpy which, I won't lie, was purely inspired by the fact that he seems to keep falling out of helicopters. But it's also because...yeah, I did neglect Gaz in the soapbox saga. But I think I neglected...everyone in the soapbox saga who weren't directly involved in the main ship. I sort of just tunnel visioned on the main three, so my exclusion of characters isn't just limited to Gaz, it was included Price, Laswell, Alejandro, Rudy, Graves etc.

I just want to make clear that my treatment of Gaz in particular isn't reflective of any inner preference against him. And to make good on that, me assigning Gaz wings of all things was to help me spend more time on him in the Monster AU! I think the contrast between Gaz being an upstart harpy, and Price being a one-winged dragon has a lot of potential as a mentor/protege relationship (and perhaps even something more) and it's why I assigned this monster to him. I really wanted to establish a connection upfront, but just making Gaz another dragon felt cheap - the harpy thing felt a little more in turn with his character :)

I really hope this cleared up any remaining frustrations with my designs for the Monster AU. I hope you can see that I never meant anything demeaning by assigning these monsters to their respective characters - in fact, I earnestly tried to go out of my way and be respectful to their backgrounds.

In any case, if you have any more questions I'd be happy to answer them - I'd just ask you to please ask politely :)

#gira speaks #monster 141 au

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waffle-sorter · 2 years

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Just saying, “Gravity Falls was right about how this situation would play out if it were possible” does not strike me as far-fetched.

#gravity falls #posts addressed to people who won't read them

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aaronsrpgs · 4 months

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In Praise of Random Encounters

I'm in my "responding to frequently asked Reddit r/rpg questions" phase, so please allow me to defend the random encounter. This post is in response to everyone who goes, "Why do people use random encounters? They interrupt the flow of the story, and it doesn't make any sense to have something randomly show up and fight."

Did you know there was a Pokemon named after me?

In this post, I will argue against these strawmen, make a case for random encounters in certain games, and describe my favorite random encounter situations from my own games.

This disputation against random encounters can be broken up into three parts:

they interrupt what is already going on ("the story")

they are illogical

they're automatically a fight

I'm going to address these last to first.

Random encounters shouldn't jump right into fights. If used as intended, they come with an encounter distance, meaning sometimes you just see signs of the encounter, or you spot them from far away. And they should also come with what used to be called a reaction roll, which dictates how the encounter feels about the PCs. These were rolled on 2d6, which meant there was a bell curve that favored results in the 6-8 range, which were usually something like "wary" or "neutral."

Second, the logic of random encounters. If you're using them right, random encounters should make sense. They should only have a chance of happening in places where the encounters could be, and encounter tables ought to be chosen based on location. So you won't get a dire trout in a desert or whatever.

This last bit is the hardest one. If it feels like a random encounter would disrupt "your story," you're probably running a game whose underlying philosophies are opposed to random encounters, yes. It's probably also opposed to many other frameworks that were present in traditional/old-school rule sets. If your game has a pre-planned story or plot, if that plot requires a certain pace or order, and if the injection of outside elements would disrupt that plot, you probably shouldn't use random encounters.

(You also shouldn't use D&D or its cousins. You might also not want to have other players, since they can disrupt those plots. But that's just me being petty.)

A page of random encounter rules from Advanced Dungeons & Dragons. This is a shitty example. I promise it's easier than this.

So when SHOULD you use random encounters? Use them if the game you're running is attempting to simulate a world that has its own logic and background that is not dependent on the player characters. Random encounters help show that the world is in motion at all times and that people and creatures move about of their own volition. They don't show up when it's meaningful to the plot or the other characters; they wander. They're random.

Another key component of this style of gaming is that they usually consider story as something that emerges from or comes after play. "Remember how we tried to cross the raging river full of electric eels, and you dropped your sword, and I almost died, but we made it across? That was awesome." These things didn't happen because they were important plot points predicted by the DM; they are the results of rolls at the table, rolls that are honored in their immediacy and only made sense of after the fact. Does this mean that you risk having a disjointed mess from which no pleasing story can emerge? Yes! But you also risk having a story emerge that no one could have planned, that is equally surprising and pleasing to everyone at the table.

This emergent storytelling is probably the greatest joy of the random encounter. Don't approach the encounter with, "It doesn't make sense that a goblin would be here." Instead, adopt the attitude of, "Let's figure out why this gobllin would be here." (And while you're at it, use that same attitude toward books you read and movies you see.)

A related aside: in some play cultures, the DM is considered to be someone who plans everything out and slowly reveals bits of story as rewards to the other players. As a DM, this can feel really stagnant, and it can be a lot to keep track of, and there is far less joy of surprise. Using dice at the table to introduce new elements can bring some of that fun back to the DM.

Everything I've said so far is a synthesis of dozens of rulebooks and blog posts I've read across a decade of running games, so please allow me to introduce a final element: my own experience with the joy of random tables.

In 2014, when 5E was coming out to great demand on the backs of Stranger Things, Critical Roll, and The Adventure Zone, I started running a campaign for friends and coworkers. There was no developed play culture around 5E at the time, no cottage industry of third-party developers. So in running it, I was drawing on what I had been reading for years: old-school roleplaying and story games.

So I prepped my starting town (doing way more work that I would today), including random encounter tables for the area. And when the players were out searching for some ruins and getting lost west of town, I rolled a random encounter. It was some gnomes. All the gnomes here had escaped from a gnome hell for greed, so they weren't exactly kind. And their reaction roll was just south of neutral, so they were a little surly.

A bad screenshot of my "west of the town of Wall" encounter tables.

They led the players to the ruins and waited, trying to trap them inside after they'd been run down by the undead inside. But the players overcame the trap and told the gnomes off. (They didn't want to get in another fight after going through the ruins; more emergent storytelling.) So the gnomes ran off, but they would remember this.

Flash forward to a different session. In the main mega-dungeon under the town, the players were exploring a new area. Another random encounter: the devil of gnome hell! It was a giant mole with masses of earthworms for limbs, and it was searching for its escaped prisoners. It threatened to kill the PCs unless they gave it a magical item. So Pepper the elf gave up his winged sword, which he'd found in the aforementioned ruins. He loved that sword.

And here's where it all comes together. The gnomes were trying to settle the land west of town, but the humans had a fort there. The players were going to that fort to get some information about the faerie realms. How could I show this situation in a way that would, as succinctly as possible, illustrate the tension while giving the players a choice on who to join? Well, the gnomes would be attacking the fort. This normally wouldn't be much of a battle…but the vengeful gnome from the ruins had made a deal with the gnome devil for power. And now he was wielding Pepper's sword, using it to fly over the fort walls and attack.

Pepper was pissed! He wanted his sword back! The other players were more interested in figuring out a way to stop the ongoing conflict between gnomes and humans. And the gnomes were split between wanting to peacefully settle their new land and get revenge on the players for driving them off from the ruins. Who would prevail?

I hadn't planned a story, but I had created a situation a story was likely to emerge based on the players' actions and the results of the dice.

Conclusion

This isn't me saying this is the only way to play. It's not the only way I play. In a short one-shot or a tightly paced, emotional game, I would never use random encounters. But they can be fun! And they (and their associated suite of rules) can address some of the issues that lead to DM burnout and genre predictability.

If you find me in the wilderness, I will fight you.

#rpgs #dnd #random encounters

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buckys-little-belle · 5 months

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Chapter One - The Blue Crayon

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SFW - Please keep all interactions with this post, and this blog, SFW.

Warnings - Reader cries, first meeting jitters, brief talks of Bucky’s ‘old life’, mainly fluff

Word Count - 1,836

Note - Releasing this is really scary, and nerve wracking. I'm worried people will hate my new writing style, or won't enjoy the slight changes to the plot/pace/overall creation. Please know that this means a lot to me, and has really given me back a piece of me I thought I lost. Enjoy, and I hope you love this as much as I do <3

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★ Prologue ★

After years of feeling out of place no matter where he went, and feeling like he didn’t belong no matter what he did to fit in, Bucky took a trip to a Cafe he remembered from his old days in Brooklyn.

The interior looked the same as it had decades ago, the soft blue and green diner furniture was in pristine shape. The metal of the counter looked slightly more scratched and worn, but the whole place had the same feel it did when he first walked in years ago.

While most cafes offered the same types of coffee and treats, none of them were anything like Cafe BigNSmall. Instead of being on a busy street open to just anyone, it was hidden away from prying eyes on a calm street, and was catered towards Littles and Caregivers.

It was founded before Bucky was even born, a group of people looking for a place to meet up comfortably, but also create a safe space for other Littles and Caregivers that might also be in need of a community.

Bucky had stumbled his way into a conversation years ago about Littles and Caregivers, at first he didn’t understand what the conversation was about, but after asking a few questions and being given the address to the hardly known, yet also famous, cafe his whole idea around the topic changed. And after a few visits with his best friend by his side the two of them realised that the community they had accidentally found was one they fit perfectly into.

Bucky half expected the well hidden cafe to be gone, or at least moved to a different location after all these years, but as he walked along the familiar sidewalk and stopped in front of the building he used to visit weekly, a warm feeling spread along his chest. The feeling of finally finding someplace he knew, and some place that knew him, was the best feeling he had felt in a while.

Even the ding of the welcome bell was the same, the coffee just as good as he remembered it, and the crunch of the leather covered diner booth sounded just as he had remembered it.

The feeling of sitting at a table alone though was new, his days spent here were always spent with Steve and other people they had met along the way. But now he sat in his favourite booth with a bag full of activities, and a heart in need of a purpose. He realised that even though the building had stayed the same, he hadn’t.

Weeks went by as he watched groups of Littles and Caregivers sit around tables and talk, colour, and laugh. He understood why people avoided him, if they knew who he was they had reason to walk away, and even if they didn’t know him as ‘The Winter Soldier” he was still dressed head to toe in black, stood at times a foot above everyone else, and always had an easily read as angry expression plastered on his face.

It had been a month before anyone talked to him, and although he wished that he could have felt included sooner, he was happy that Y/n was the first person he met, even if it took weeks of waiting.

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The sun was shining brightly through the wall of windows, Bucky’s booth drowning in light, the small plant that sat with a basket full of sugar and cream was no doubt enjoying the nice weather.

Bucky’s coat sat next to him, his phone buzzing from time to time though he ignored it. Instead of calling Steve back, or making sure Sam didn’t need something he surveyed the room, making sure all exits were secure, and danger wasn’t present.

He, in a way, had given up the idea that he would meet a Little, or even a friend, but decided that in the absence of someone he would spend his time as - unwanted, and unneeded, as well as unofficial - security for those who spent their days here with friends.

As his eyes drifted to make sure his car parked on a side street was still in tack he heard a small shuffle next to him, then a small voice spoke. “Um, Mr?” He turned his head to see a girl with tear marks down her face staring at him. Her green shirt’s sleeves covered in wiped tears, her overalls slightly off her one shoulder.

Bucky just stared at her for a second, waiting for her to fizzle away and reveal herself as a dream, or run in fear when she saw his face, but she didn’t. “Hi.” He cleared his throat, trying his best to put on a neutral tone and facial expression. “What’s wrong?” He asked, shuffling in his seat slightly, his nerves evident.

“My, um.” Her left hand covered in her sleeve came back up to her face, rubbing her eye before she continued. “My crayon broke.” The girls lower lip wobbled now, bringing up what must have happened clearly causing her distress. “The nice cash lady said you, you migh’ have some crayons?” Her voiced lowered to a whisper now.

Bucky smiled, the warmth he felt when he first stepped inside a month ago finally coming back. His backpack was filled with Little friendly activities and supplies for this reason exactly. “I do.” He answered, unzipping his backpack and pulling out his carton of 96 crayons. “What colour do you need, Bub?” The nickname slipped out on accident, but the girl in front of him didn’t seem to notice, too awe struck by the box of crayons in front of him.

She sniffled before answering. “I need blue.” She said with a little more confidence. “Hold on.” She whispered, jogging back to what Bucky assumed was her table. “This one, please.” She pulled out two halves of a blue crayon from her box. Her crayon box was smaller than Bucky’s, only a handful of crayons inside, unlike his though her’s had a small sticker on it that read “Y/n.”

“Y/n?” He asked, the girl snapping her head to him, her eyes wide. Bucky tapped the sticker on her box, Y/n flipping it over and realising how he now knew her name. “There’s too many blue crayons in this box to know what one you want.” He said, hoping it didn’t come off mean or like he was showing off his ‘better’ supplies. “Why don’t you take the box back to your table and use any of the crayons I have for the day.” He offers, hoping that his generosity could help earn Y/n’s trust over time.

“Can I jus’ sit here?” Y/n asked, her hands fiddling with the box in her hands.

“You want to sit here?” Bucky parrots her words back to her, hardly believing that she would want to sit with him.

“Yeah, if that’s okay.” Her lower lip began to wobble again as she took a step back. “Unless, I’m sorry, I can go.” She said quickly, clearly taking Bucky’s surprise as anger.

“You can sit here.” Bucky’s words were also spoken quickly, worried if he didn’t say anything right away she would run from him. “No one’s wanted to sit with me yet, I’m just surprised.” Y/n nodded her head and put her small box down on the table before walking back to hers.

In a minute she had gathered all her things and made her way back to Bucky, her backpack now sitting on the other seat. “You sure that I can sit here?” Bucky noticed her slight change in speech, a clear sign of further regression.

“Yes, I’m sure.” He smiled, Y/n sitting down but still holding her colouring book to her chest, her back straight as a pin. “I’m glad you came over.” He says in hopes to reassure her he wants her here. “It’s nice to have a friend.” Y/n smiles at that, placing her book down, showing a half done colouring page.

“I agree, bein’ lonely is sad.” She frowns. “Do you wanna colour with me?” Her tone is hopeful, looking at Bucky with a smile.

“I’d love to.” He smiled back, pushing his coffee to the side and accepting the page Y/n tore out for him. The two of them colouring their respective pages in silence for an hour before Y/n sat up straight with the biggest smile Bucky had seen so far.

“Done!” She practically yelled. Bucky had been done for a while now, adding his own doodles around the actual lines of the drawing. “Look.” She slides the book towards him, a coloured picture of a princess and her wildlife friends surrounding her staring back up at him.

“This is really good, Bub.” Bucky coos, surprised at her ability to stay mainly in the lines of the original lines.

“You can keep it.” She quickly squiggles something on the bottom, Bucky assuming it’s her form of a signature.

“Thank y-” His words are cut off by the shrill of an alarm, Y/n digging her phone out of her backpack to turn it off, frowning as she places the phone on the table.

“I have to go home now.” She frowns as she starts to pack up her bag, pausing to turn to Bucky. “Will you, can you.” She stumbles over her words. “Are you coming here tomorrow?” She eventually asks, her eyes avoiding Bucky’s.

“Are you?” He counter asks.

“Yes.”

“Then I’ll be here tomorrow.” She smiles and finally looks at him.

Y/n spends a few more minutes packing up her things before she stands. “Thank you Mr.” She holds her hand out for a handshake, Bucky’s back straightening as he realises he’ll have to shake her hand with his left. Instead of doing so he grabs her left hand with his right and shakes that one, her giggles worth the awkward situation. “Bye Mr.” She says, turning to leave, but Bucky keeps a hold of her hand.

“Why don’t you keep these?” He says, pushing the box of crayons closer to her near the edge of the table.

“Borrow them?” She asks.

“No, I want you to keep them.” He nudges them her way a little more. “I think you’ll get much more use out of them than I ever would.” He smiles as he watches her’s grow bigger. Picking them up she does a little jump, her backpack jingling as she does.

“Thank you! Thank you! Thank you!” She spins before whispering a ‘thank you’.

Before Bucky could say goodbye, or ask for her phone number, she had already walked out of the building, walking down the sidewalk looking at the box of crayons in awe. The broken blue crayon still sat on the table, he smiled, picking it up and placing it in his pocket. The small thing a reminder of the best day he’s had in a long time.

#buckys little belle #age regression fic #age regression #little!reader #bucky #bucky x little!reader #bucky barnes x reader #bucky x reader #bucky x female reader #bucky barnes age regression #bucky barnes x little!reader #little fic

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