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survivoirs · 2 years

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@thorrncrowned sent: 🔙 // push receiver’s muse against a wall .( TASM!Spidey @ Goblin )

This was an entirely new universe to conquer, whether or not Norman was too fucking weak and pathetic to grab for it was irrelevant to Goblin. And the Peter of this universe had tried to fix them. Osborn, that traitor, had even been trying to help Peter get rid of them. And so, poor Norman was shoved deep into the recesses of their mind once again.

A familiar suited figure bounding over the buildings caught its eye as it flew over the New York streets. What a treat. This one was taller than the one it had seen on the bridge. With any luck, he was the one that belonged to their universe. Perhaps a Spidey corpse would wake Osborn up to the possibilities here? If not, Spider-Man’s death was still overdo.

The cool air felt crisp against its face as the Goblin shifted its weight to twist the glider around in a sharp motion, dipping quickly as it picked up speed at a rapid rate. It just had to time it just right...

The glider collided into Spider-Man’s back just before he could launch another web to the next building. The Goblin let out a maniacal laugh as the hero was knocked right through a window of some office building. Glass showered the dim streets below while the glider drew to a hover right outside the newly made entrance. Stepping forward, boots crunched over glass on the carpeted floor.

“Did I interrupt your late night stroll, Peter?” Goblin cooed sinisterly into the partial darkness. Enhanced sight could easily make out the shape of the rows of cubicles and the occasional flickering lights on some of the monitors. Ears stayed fixed for any sound of the hero moving about the large room as the Goblin began walking slowly down one of the aisles. It glanced up at the ceiling due to a past learning experience before stopping.

“The Itsy Bitsy Spider...” It sang darkly before suddenly spinning and swinging a gloved fist straight through one of the cubicle laminate walls. Knuckles just barely brushed against organic softness before the Goblin was met with a hard kick to the center of his chest plates as Spider-Man used the corner of the cubicle wall to swing his body around from where he’d been hiding. Goblin stumbled backwards, hand shooting out to steady itself against the actual wall of the building

Goblin felt something wrap around that hand and its head turned to see webbing holding it there. It chuckled briefly before flashing a look in surprise at the speed with which Spider-Man came at him fully this time. Something was different. It took the brute force of being shoved back fully into the wall with a wide grin, looking up. More webbing followed in rapid bursts and Goblin didn’t even bother to try to avoid them. It also wouldn’t hold them but this Parker didn’t yet understand the amount of strength this body was capable of. Up close it was clear this wasn’t their Spider-Man but it didn’t look disappointed.

"My, my, my. Another Spider-Man? Is that still you under there, Peter? I bet you’ll bleed the same as mine.”

#Gobby webbed to the wall and still talking smack #THREADS. [ Can the Spider-Man come out to play? - Goblin ]#going off that Peter 2 and 3s suits are pretty similar looking from a distance #def more from a distance and not up close LOL but shuuush #least compared to Peter 1 that hed seen on the bridge #i saw this comparison of how the spideys fight and Andrews being shown as the one fighting mostly visually spider like was such a cool detai #like the way he was crawling and webbing up the Lizard and shit #*chefs kiss* just a different spidey fighting style than Goblin is used to being a neat like Oh hello youre not mine LOL #i mean it will notice that before hand but still #Andrews spidey is def faster than Tobeys too so whoops deal with that Gob #lol poor peter is probs like who the fuck r u #rp #sorry i got a lil carried away because i havent gotten a chance to write Gobby yet gonna need a lil time to get its voice just right #YOU DO NOT NEED TO MATCH #it was a lot of set up and i was trying not to write too much of peters side of the fight for like obs reasons but for set up sake

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thelegendofmrrager · 9 months

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Mutant mayhem was AMAZING. Ohhh my god I just wanted to eat every single frame and sequence of this movie

#i also had no idea ayo edebiri voiced april!! as soon as she started speaking i was like hold up... she sounds so familiar #some parts dragged a bit but overall this movie obv achieved what it was going for visually #GOD the fucking character design too the way everyone looked scribbly. the different sized eyes and jacked up teeth #i need the character sheets for all the background characters for inspies

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atemu-remus · 10 months

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It breaks my heart that one of my friends had resisted getting a cane for so long because she was terrified of being treated differently until I got a cane myself to help with my feet. She had the courage to get one herself because she knew at least one other person had that shared solidarity with her if she needed to get one also.

While I'm happy and proud that she did so, it shouldn't have gotten to the point where someone else in the friend group needed to take the plunge for other people to feel comfortable and safe enough to get the same help themselves.

The way people are treated for having physical disabilities is abysmal if we (yes, we, because I am realizing my cane is going to be an as needed basis for the rest of my life and had to make peace with this for the sake of my anxiety) are so terrified of being treated like freaks and monsters, of losing any and all rights and autonomy just by having a visual aid.

I am not someone to be pitied, I don't owe you explanations for why I need my cane or why I don't use it all the time, and I demand the same respect you expect out of me no matter the circumstances. Visual aids do not justify being treated as helpless, incompetent, or seen as a freak. And if you need my health information for you not to judge me, suck my dick.

People that want to oppress me are not entitled to an explanation or sob story just to treat me like a person, even if I know they won't treat me like an equal even with the information anyway.

#rantings and ravings #i have a wrath of a thousands suns #people can judge me all they want #but the moment someone I care about voices the same/similar fears that had them stalling about getting help #it enrages me that they had to be put in a closet and suffer because they were so scared of being treated differently #i will take the hit. but don't treat my friends and loved ones just because you can't be bothered to accept them as they are #respect goes two ways motherfucker. understand that or suck my dick #also telling someone they are 'too young' to be having a visual aid. this is why people are scared of getting help #because of shit like that. mind ya damn business #sorry i am not usually so vocal but i am enraged #even if mine or my friend's issues turn out to be temporary; i am going to be far more aggressive about equal treatment #starting with how people view visual aids. it's unacceptable that people fear for their lives over being seen with a visual aid #that needs to change #opening up the vents

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munch-mumbles · 10 months

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while im here i have more exodus thoughts im SO CONFLICTED ON IT. more in tags as per use

#ive playyedd let me check #2.5 hours so far ok. so not super far but a pretty decent chunk and plenty of time to get a feel for the setting right?#exodus has made ZERO ABSOLUTE NO mention of a group that was basically the entire plot in the previous game which is weird #still suffering from the 'plot moves way too fast' issue like in the last two games the metro had been everyones home for Twenty Years #and considered the last bastion of all of humanity. but in exodus we're just. leaving and none of us are too bothered #also in the previous games the air on the surface was super toxic and you were required to use gas masks and carefully conserve air filters #and etc to survive right? guess how it is in exodus. whimper.#turns out the airs perfectly fine to breathe if you just travel out a little ways. like. thats bizarre to me to just drop that entire HUGE #mechanic. yes it technically makes the game way easier for me no i dont like it #last and most insulting back to complaining about miller #as you all know i hate his redesign.. appearance and voice and honestly just the way he acts now hes a different person than the last games #and i dont like it. and the devs doubled down HARD on him hes basically a main character #in the previous games he actually didnt get very much screentime and was mostly just someone i had to work towards meeting with in certain #locations #but now that i kind of cant stand him I CANT ESCAPE HIM #ughhhh. gonna keep playing though just because the point and shooty bits are fun and its visually pleasing #good lord i wrote a lot. look at my game thoughts boy

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wifelinkmtg · 9 months

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TUMBLR POST EDITOR WON'T LET ME TITLE THIS POST ANYMORE SO I GUESS THIS IS THE TITLE NOW. WEBBED SITE INNIT

So let's say you grew up in the nineties and that The Lion King was an important movie to you. Let's say that the character of Scar - snarling, ambitious, condescending, effeminate Scar - stirred feelings in you which you had no words for as a child. And then let's say, many years later, you're talking about it with a college friend, and you say something like, "oh man, I think Scar was some sort of gay awakening for me," and she fixes you with this level stare and says, "Scar was a fascist. What's the matter with you?"

The immediate feeling is not unlike missing a step: hang on, what's happening, what did I miss? You knew there were goose-stepping hyenas in "Be Prepared," but you didn't think it mattered that much. He's the bad guy, after all, and the movie's just pointing it out. Your friend says it's more than that: the visuals of the song are directly referencing the Nuremberg rallies. They're practically an homage to Riefenstahl. This was your sexual awakening? Is this why you're so into peaked caps and leather, then? Subliminal nazi kink, perhaps?

And then one of your other friends cuts in. "Hold up," he says, "let's think about what Scar actually did in the movie. He organized a group of racialized outcasts and led them against a predatory monarchy. Why are you so keen to defend their hereditary rule? Scar's the good guy here." The conversation immediately descends into a verbal slap fight about who the real bad guy is, whether Scar's regime was actually responsible for the ecological devastation of the Pride Lands, whether the hyenas actually count as "racialized" because James Earl Jones voiced Mufasa after all. Your Catholic friend starts saying some strange and frankly concerning shit about Natural Law. Someone brings The Lion King 2 into it. You leave the conversation feeling a little bit lost and a little bit anxious. What were we even talking about?

INTRODUCING: THE DITCH

There is a way of reading texts which I'm afraid is pervasive, which has as its most classical expression the smug obsession with trivia and minutiae you find in a certain vein of comic book fan. "Who was the first Green Lantern? What was his weakness? Do you even know the Green Lantern Oath?" It eschews the subjective in favor of definitively knowable fact. You can't argue with this guy that, say, Alan Scott shouldn't really count as the first Green Lantern because his whole deal is so radically different from the Hal Jordan/John Stewart/Guy Gardner Corps-era Lanterns, because this guy will simply say "but he's called Green Lantern. Says so right on the cover. Checkmate." This approach to reading a text is fundamentally 1) emotionally detached (there's a reason the joke goes, oh you like X band? name three of their songs - and not, which of their songs means the most to you? which of them came into your life at exactly the right moment to tell you exactly what you needed to hear just then?) and 2) defensive. It's a stance that is designed not to lose arguments. It says so right on the cover. Checkmate.

And then you get the guys who are like "well obviously Bruce Wayne could do far more as a billionaire to solve societal problems by using his tremendous wealth to address systemic issues instead of dressing up as a bat and punching mental patients in the head," and these guys have half a point but they're basically in the same ditch butting heads with the "well, actually" guys, and can we not simply extricate ourselves from the ditch entirely?

So, okay, let's return to our initial example. Scar is portrayed using Nazi iconography - the goose-stepping, the monumentality, the Nuremberg Lichtdom. He is also flamboyant and effete. He unifies and leads a group of downtrodden exiles to overthrow an absolute monarch. He's also a self-serving despot on whose rule Heaven Itself turns its back. You can't reconcile these things from within the ditch - or if you can, the attempt is likely to be ad-hoc supposition and duct tape.

Instead, let's ask ourselves what perspective The Lion King is coming from. What does it say is true about the world? What are its precepts, its axioms?

There is a natural hierarchical order to the world. This is just and righteous and the way of things, and attempts to overthrow this order will be punished severely by the world itself.

Fascism is what happens when evil men attempt to usurp this natural order with the aid of a group or groups of people who refuse to accept their place in the order.

There exists an alternative to defending and adhering to one's place in the natural order - it consists only of selfish spineless apathy.

Manliness is an essential quality of a just ruler. Unmanliness renders a person unfit for rule, and often resentful and dangerous as well.

And isn't that interesting, laid out like that? It renders the entire argument about the movie irrelevant (except for whatever your Catholic friend was on about, since his understanding of the world seems to line up with the above precepts weirdly well.) It's meaningless to argue about whether Scar was a secret hero or a fascist, when the movie doesn't understand fascism and has a damn-near alien view of what good and evil are.

There's always gonna be someone who, having read this far, wants to reply, "so, what? The Lion King is a bad movie and the people who made it were homophobes and also American monarchists, somehow? And anyone who likes it is also some sort of gay-bashing crypto-authoritarian?" To which I have to reply, man, c'mon, get out of the ditch. You're no good to anyone in there. Take my hand. I'm going to pull on three. One... two...

SO PHYREXIA [PAUSE FOR APPLAUSE, GROANS]

We're talking about everyone's favorite ichor-drooling surgery monsters again because there was a bit in my ~*~seminal~*~ essay Transformation, Horror, Eros, Phyrexia which seemed to give a number of readers quite a bit of trouble: namely, the idea that while Phyrexia is textually fascist, their aesthetic is incompatible with real-world fascism, and further, that this aesthetic incompatibility in some way outweighs the ways in which they act like a fascist nation in terms of how we think of them. I'll take responsibility here: I don't think that point is at all clear or well-argued in that essay. What I was trying to articulate was that the text of Magic: the Gathering very much wants Phyrexia to be supremely evil and dangerous fascists, because that makes for effective antagonists, but in the process of constructing that, it's accidentally encoded a whole bunch of fascinating presuppositions that end up working at cross-purposes with its apparent aim. That's... not that much clearer, is it? Hmm. Why don't I just show you what I mean?

Atraxa, Grand Unifier (art by Marta Nael)

In "Beneath Eyes Unblinking," one of the March of the Machine stories by K. Arsenault Rivera, there's a fascinating and I think revealing passage in which Atraxa (big-deal Phyrexianized angel and Elesh Norn's lieutenant) has a run-in with an art museum in New Capenna. The first thing I want to talk about is that, in this passage, Atraxa has no understanding of the concept of "beauty". A great deal of space in such a rushed storyline is devoted to her trying to puzzle out what beauty means and interrogating the minds of her recently-compleated Capennan aesthetes to try and understand it. In the end, she is unable to conceive of beauty except as "wrongness," as anathema.

So my first question is, why doesn't Atraxa have any idea of beauty? This is nonsense, right? We could point to a previous story, "A Garden of Flesh," by Lora Gray, in which Elesh Norn explicitly thinks in terms of beauty, but that's a little bit ditchbound, isn't it? The better argument is to simply look at Phyrexian bodies, at the Phyrexian landscape, all of which looks the way it does on purpose, all of which has been shaped in accordance with the very real aesthetic preferences of Phyrexians. How you could look at the Fair Basilica and not understand that Phyrexians most definitely have an idea of beauty, even if you personally disagree with it, is baffling. This is a lot like the canonical assertion that Phyrexians lack souls, which is both contradicted elsewhere in canon and essentially meaningless, given Magic's unwillingness or inability to articulate what a soul is in its setting, and as with this, it seems the goal is simply to dehumanize Phyrexians, to render them alien, even at the cost of incoherence or internal contradiction.

Atraxa's progress through the museum is fascinating. It evokes the 1937 Nazi exhibit on "degenerate art" in Munich, but not at all cleanly. The first exhibit, which is of representational art, she angrily destroys for being too individualistic (a point of dissonance with the European fascist movements of the 20th century, which formed in direct antagonism to communism.) The second exhibit, filled with abstract paintings and sculptures, she destroys even more angrily for having no conceivable use (this is much more in line with the Nazi idea of "degenerate art", so well done there.) The third exhibit is filled with war trophies and reconstructions from a failed Phyrexian invasion of Capenna many years prior, which she is angriest of all with (and fair enough, I suppose.) But then, after she's done completely trashing the place, she spots a number of angel statues on the cathedral across the plaza, and she goes apeshit. In a fugue of white-hot rage, she pulverizes the angel heads, and here is where I have to ask my second question:

Why angels? If you are trying to invoke fascist attitudes toward art, big statues of angels are precisely the wrong thing for your fascist analogues to hate. Fascists love monumental, heroic representations of superhuman perfection. It's practically their whole aesthetic deal. I understand that we're foreshadowing the imminent defeat of Phyrexia at the hands of legions of angels and a multiversal proliferation of angel juice, but that just leads to the exact same question: why angels? To the best of my knowledge, the Phyrexian weakness to New Capennan angel juice is something invented for this storyline. They have, after all, been happily compleating angels since 1997. We could talk about the in-universe justification for why Halo specifically is so potent, but I don't remember what that justification is, and also don't care. Let's not jump back in the ditch, please. The point is, someone decided that this time, Phyrexia would be defeated by an angelic host, and what does that mean? What is the text trying to say? What are its precepts and axioms?

Let me ask you a question: how many physically disabled angels are there in Magic: the Gathering? How about transsexual angels? How many angels are there, on all of the cards that have ever been printed for Magic: the Gathering, that are even just a bit ugly? Do you get it yet? Or do you need me to spell it out for you?

SPELLING IT OUT FOR YOU

There is a kind of body which is bad. It is bad because it has been significantly altered from its natural state, and it is bad because it is repellent to our aesthetic sensibilities.

The bad kind of body is contagious. It spreads through contact. Sometimes people we love are infected, and then they become the bad kind of body too.

There is a kind of body which is good. It is good because it is pleasing to our aesthetic sensibilities, and it is good because it is unaltered from its (super)natural state.

A happy ending is when all the good bodies destroy or drive into hiding all of the bad bodies. A happy ending is when the bad bodies of the people we love are forcibly returned to being the good kind of body.

Do you get it now?

ENDNOTES

It's worth noting that the ditch is very similar to the white American Evangelical hermeneutics of "the Bible says it. I believe it. That settles it," the defensive chapter-and-verse-or-it-didn't-happen approach to reading a text, what Fred Clark of slacktivist calls "concordance-ism". I don't think that's accidental. We stand underneath centuries of people reading the Bible very poorly - how could that not affect how we read things today? We are participants in history whether we like it or not.

I sincerely hope I haven't come across as condescending in this essay. Close reading is legitimately difficult! They teach college courses on this stuff! And while it is frustrating to have my close readings interrogated by people who... aren't doing that, like. I do get it. I find myself back in the ditch all the time. This stuff is hard. It is also, sorry, crucial if you intend to say something about a text that's worth saying.

I also hope I've communicated clearly here. Magic story is sufficiently incoherent that trying to develop a thesis about it often feels like trying to nail jello to the wall. If anyone has questions, please ask them! And thank you for reading. Next time, we'll probably do the new Eldraine set.

#phyrexia #not defining the ditch except by implication #thanks to all the very smart vorthoi on the flavor text discord server for helping me work through my thoughts on fascism and phyrexia #this is technically the march of the machine review also #or as much of one as i care to do

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endlessthxxghts · 2 months

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Best I Ever Had

Jackson!Joel Miller x afab!reader | w/c: 2.3k

Summary: Someone tries to hit on you on your night out with Joel, insulting your man in the process, and oh you don't like that. You blow off some steam in more ways than one.

Content/Warnings: Reader is able-bodied, no physical descriptions. Feminine perception of reader and feminine pet names (Joel calls you mama and babygirl), but no pronouns used. Reader's a fucking badass and can hold their own fights (probably Joel's too, tbh). Slight description of reader getting physical/violent with another person (bby has some anger issues). Established relationship. Implied age gap (exact number unspecified). A bit of insecure Joel. 18+ MDNI! Dom!reader !! Sub!Joel !!!! P in V unprotected. Slight breeding kink (reader just likes being filled, no children talk). Joel has a fast refractory period (don't think too much on it, just enjoy). Definitely some overstimulation. Cockwarming. Riding..straddling.. Teasing. Begging. Edging. Sloppy making out. Multiple orgasms. Please let me know if there’s anything I missed that should be up here!

A/N: Some get post-nut clarity, but I get post-nut lust. This was the product of that. Hope you enjoy, my angels. Thank you @honeyedmiller for beta’ing 🩶 also I picture both game Joel or hbo Joel, so it’s entirely up to you what you wanna visualize ;)

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It was a busy night at the Tipsy Bison. Everyone was out. Everyone was mingling, getting to know each other. As if it wasn’t a small town already, but hey, it wouldn’t hurt to make sure you really knew the people living in this little forever-town.

Except, Joel was not one to mingle—especially on nights like tonight. Tommy insisted that he come, it’ll be nice, he tried to reason.

He eventually agreed. Not because of Tommy, though, but because of you.

You knew Joel was a certified grump, through and through. And you love Joel, you really do. But the post-apocalyptic world caused you to react differently than your man. Yeah, you’ve become tougher, harder to break, harder to trust. However, you crave any sense of normalcy you can find. So on occasion, you like to go out and get to know the people of the town. You like human interaction.

And when they say opposites attract, the saying couldn’t have been more true. Joel was absolutely smitten the day he met you. It’s been a long time coming between you two—with his vulnerability, or lack thereof, and his initial unwillingness to accept that he can finally relax and unclench his jaw—but you’re together now, stronger than ever, and everything is worth it.

You are worth it.

Which is exactly why all you needed was to give one raise of your brow during his protesting before Joel promptly shuts his lips and takes a defeated breath, fixing his answer to Tommy. “Oh, hell. Alright, brother, we’ll be there.”

And to be quite honest, Joel would go as far to say that tonight’s little get together was actually decent for once. That is, until he sees you waiting on the bartender for his beer and your old-fashioned, and a man—a boy—approaches you.

“Hey,” you heard a voice beside you say. Not realizing it was meant for you, your attention stays on the bartender. Still, the voice persists. “I was thinking, uh-” you look at the guy then, eyes staring him down in a way he perceives as a challenge.

He clears his throat. “I was thinking I could buy you a drink?”

“No, I’m good,” you say shortly. The bartender comes up to you, pulling you away from the guy’s feeble attempt at flirting. You tell the bartender your order, and before you can take another moment to speak, the guy pipes up.

“Put it on my tab,” he smirks triumphantly, taking a closer step to you.

You pull yourself away on instinct— out of disgust, but your eyes stay trained on his gaze. You’re pissed, but this naïve little boy has no idea. Both of what you're capable of and what the older man, your older man, across the bar is capable of.

“Thanks,” you smile, “my boyfriend’s gonna appreciate the free drink,” you tell the guy, turning to Joel and giving him a sweet smile. You’ve been feeling his stare the second this waste of space walked up to you.

Joel would pounce if you told him to. He knows you can handle yourself, though, and you confirm it through that pretty smile you flash him. He can’t deny the way his cock twitches at the way this scene is unfolding. Part of him is begging for the guy to try something more, to test you—to unleash you.

The guy scoffs the second he sees Joel. “That old man is your boyfriend? Come on, baby,” his hand reaches for the crook of your elbow. “You can do so much better than that,” he taunts.

And that was the something more you needed. Immediately your hand takes hold of his wrist, twisting the man to face the bar in a rough fashion as you lean him over the bar counter, his arm twisted behind his back, shoulder ready to snap out of his socket with the tiniest of movements.

“Wanna say that again?” You seethe, knocking the breath from his lungs as you push him into the wooden counter.

“I said—”

He’s cut off by his own high-pitched scream. You push his arm higher, a sharp pain shooting through every nerve center in the guy’s arm.

“Sweetheart,” a southern twang says softly, but it’s not your man. Tommy. “I know he probably deserves it, darlin’, but it’s not worth it,” he says, not wanting to aggravate you more. Everyone knows not to test you.

Well, apparently not everyone.

You roll your eyes, knowing Tommy’s just trying to keep up the liveliness of tonight. “Fine,” you mutter. Leaning closer into the guy, you whisper into his ear. “Talk about my fuckin’ man like that again, and I’ll snap your shoulder so fuckin’ hard, Jackson’s doctors won’t even know what to do with ya. Ya hear me?” You’re not from the South, and before the outbreak, you’ve never even been. But get angry enough, and Joel’s twang possesses you.

You release the crying boy with a shove, and you back up, wanting to pull yourself away from the situation. Your back is met with something hard, and immediately you know who it is. You soften in his touch as his arms immediately wrap around your waist. “You alright, babygirl?” Joel rasps in your ear. You can feel his fucking hard-on pressed against your back.

The guy looks at you and Joel, chest still heaving as his face turns into disgust, a fuck you muttered under his breath, an aftertaste of jealousy on his lips.

Smiling wildly at the guy in front of you, you snake your hand up to wrap around Joel’s jaw before you turn your head back and tilt your head up, pulling Joel into an open-mouthed kiss, your tongue pushing into his mouth as he eagerly sucks it, lapping up your spit. He groans into you, his arms pulling you impossibly tighter into him.

You pull away with a harsh nip to his lip, feeding off the little whimper Joel lets out. “Baby,” he whines.

You look back to the guy, and the silent audience you’ve accumulated. “Come on, cowboy,” you breathe. “I’m not done with you.”

“Yes, ma’am,” he replies happily, spinning you two around and walking out with you still pressed against him.

The bar stays quiet after a beat. Tommy’s hand slaps the bar counter before he speaks. “Well. Get the music back going unless y’all wanna hear ‘em goin’ at it all night!” The bar roars in laughter, the music coming back to life.

Before returning back to Maria, Tommy turns to the guy. “You. Out.”

He scrambles without looking back.

“Oh my God, baby.”

“Fuck— I- I can’t, baby, I can’t hold it much longer, baby, I need to come.”

“Just one more second, baby.”

“Mama, please,” he cries out, his head lolling from side to side on his sweat-soaked pillow as you grind your hips into his pelvis, lifting yourself on and off him every other moment. His hands hold onto your hips, not in a way to control your movement but to simply feel you.

“Oh, come on, be a good boy for me, baby,” you moan, your hand fixing itself onto his jaw to make him look at you. “Just wanna feel you twitch inside me a little bit more ‘fore you make a mess inside me, okay?”

“Oh, fuck— yes, yes, mama, yes, okay,” he rambles, trying his hardest to breathe through the pleasurable pain as you take and take and take.

A particular grind sends your back arching, his pubes soaked in your arousal nudging perfectly against your clit, sending an electric pulse up your spine. You cry out in ecstasy, your climax hitting you instantly. “Oh fuck, oh shit- fuckfuckfuck, baby, come with me— come inside me, baby, fucking fill me,” you nearly scream, hoping that boy can hear you now.

“Shit, baby, oh my God- fuck- I’m coming, mama, holy fuck- I-” he stutters, his thigh muscles shaking underneath you as you bounce on him through his climax, the mix of his spend with yours bouncing lewdly across the walls of your shared bedroom.

Your hips come to a slow but never stop, your chest heaving as you lean down to bring your lips to Joel. You let them ghost across his lips, but you don’t let them touch. He knows better not to chase it, not yet, anyway. He can still feel you fuming.

You can do so much better than that.

“Can you fucking believe him?” You whisper against his lips, barely audible yet fucking scary nonetheless.

Joel thinks that boy is right, deep down. Even though he’d never want you to leave him, and you’d never want him to leave you. Joel thinks that there’s a crumb of moral rightness in that statement. But he keeps that to himself.

Nevertheless, you know Joel like the back of your hand. He doesn’t need to utter a lick of anything to you. You already know what he’s thinking.

“Joel,” you say again. “I asked you a question.”

All questions must be answered.

Fuck.

“Y-yeah, baby,” he rumbles, too distracted by the comments from the bar, but mainly still caught up in the way his softening come-covered cock is still nestled inside of you.

You sit up now. A whine leaves his throat at the movement. “So you do believe him?”

Only then does he realize what he said. His eyes shoot up to yours. “W-wait, no, baby, ‘m sorry, no. No, I don’t believe him, baby,” he panics.

You quirk your eyebrow at him.

“The fuckin’ audacity on ‘em,” he adds for good measure.

You’re silent for a beat. Then—

“You’re lying.”

Joel’s heart starts to race. “No, baby. Please. Mama, I’m not lyin’,” he tries.

Still straddling his hips, you grab onto his bicep, pulling upward. He gets the hint and sits up. He’s still inside you, his cock slowly growing to full mast again the longer you sit here.

You’re face to face now. His arms are loosely wrapped around your waist, your arms tightly around his neck.

“Look me in my eye,” you whisper, “and tell me you’re the best I ever had.”

Joel audibly gulps.

Slow— so slow, your hips begin to move again. A breathy little moan escapes your mouth, and he lunges forward for you, his tongue dancing along the tip of yours, swallowing your breath. You allow it.

“Tell me,” you groan into his mouth, practically swallowing his tongue as you shallowly bounce yourself on him.

“Baby,” he whines, getting lost in this dance of heat and sweat he’s become utterly addicted to.

You break yourself away from his mouth, not allowing him the option to reach for you anymore. He pulls back, eyes wild and sad. His mouth turned down into a literal pout.

“My poor baby,” you mutter. “Tell me what I wanna hear,” you say again. “Or you’re not getting my lips nor are you coming for the rest of the night,” you tell him, switching back into your grinding motion to stimulate your sensitive bud, letting him feel the way your pussy flutters around him.

“Baby,” he begs again as you grind, your warmth forcing him to another climax. Please don’t make me say it, he’s trying to convince you.

Your fingers find their home at the base of his salt and pepper curls, tugging them in warning. “Tell. Me.”

You force his body down to lay flat on the bed again, towering over him, allowing your body the space to lift yourself off of him, only his tip inside of you. He takes a sharp breath in, knowing what’s coming.

You drop yourself down on him, fucking yourself on his cock at a bruising pace. You grab his hands and drag them up to your chest, wrapping his thick digits around you encouraging him to squeeze.

“Fuck- mama, I’m gonna—”

“No the fuck you’re not, baby,” you moan, lost in the pleasure but still rightfully in charge. “Swear to God, Joel, gonna leave you fucking swollen and pulsing for a fucking week— oh fuck,” you cut yourself off, a familiar sensation building at the base of your spine, sending you convulsing around his length yet again.

Joel’s eyes clamp shut, finally giving into your request so he can finally let go. “I— shit, I’m the—” a rugged moan forces itself out, “—the best you ever had, mama, please, the fuckin’ best, baby,” he cries out, his hips bucking up into you as he covers every inch of you with his spend.

“Shit,” you moan, his words affecting you a lot more than you anticipated, your hips doing overtime, unable to find it within you to stop even as he begins to soften. “Yes, fuck, that’s my boy, shit—” you breathe, “—the fucking best, always make me feel so fucking good, baby.”

His hands finally use their strength, trying his best to slow you with ease, his nerves reaching the point of painful overstimulation. “Alright, baby, alright,” he winces.

Recognizing his limits, you immediately begin to slow, lowering yourself onto his heaving chest. You let him slip out of you this time, giving him an actual break. “I’m sorry,” you whisper into his chest.

“For what, baby?” Joel responds with a kiss into your head.

“Did I go too far?”

He couldn’t help the belly laugh that shakes the both of you. You immediately sit back up, your hands on his chest to keep your limp body up. “What?” you glare at him.

“Too far? Which part, darlin’? Nearly breakin’ that guy’s shoulder or my dick?”

A belly laugh erupts out of you this time. Taking a moment to compose yourself, you respond. “...Both.”

“Mmm…” Joel puts on a fake thinking face. “Maybe to the former, but not at all to the latter,” he hums, his hands finding the back of your head to pull you in for a chaste kiss.

You hum into his lips, a smile stretching across your cheeks.

Resting your head on his chest, you let a few moments pass before you speak again. “Tommy’s not gonna invite us to another one of those, huh?”

“Probably not, mama,” he smiles. “Probably not.”

I’d love to hear what you think!! Any feedback or interactions with you all truly brightens my day. So so so much love for you all. Thank you for being here 🩶

I cannot get myself to write for Joel or for TLOU without mentioning the horrors occurring in Palestine. Please check out the links in my navigation + bio to learn about the situation in Palestine and also learn about some ways in which you can help🇵🇸. Reading and interacting with those links takes 5 minutes of your time at the bare minimum.

graphics by @saradika-graphics (middle divider in fic by me)

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slayingfiction · 2 months

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Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

#novel writing #writer #writing #writing advice #fiction #creative writing #writeblr #tumblr writers #writing tips #writing community #writers of tumblr #slaying fiction #writing dialogue #dialogue

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kestalsblog · 4 months

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Basic Tips to Improve Your Writing

I used to read a lot of unprofessional writing online, and through that endeavor, I started mentally compiling different qualities that turned me off to people's work right away. I'm sharing some of my thoughts about ways to improve your writing so others don't click off your work right away!

-Change paragraphs when different characters are speaking.

-In that same thread, remember to make new paragraphs and not have one giant block of text. This isn't only discouraging for some readers, but actually physically impossible to read for those who are visually impaired.

-Learn grammar. Sorry, but there is no way around this one. For example, commas aren't just for aesthetic appeal or your personal choice, and it will turn some readers away if your writing is littered with grammatical errors. You can't break the rules for creative purposes if you don't even know them, and the difference is generally apparent.

-Remember the narration style you've chosen. For example, if you're writing in third person limited, you can't think outside the mind of your main character. Don't jump suddenly to the thoughts of other characters or an all-knowing, omniscient voice.

-Slow down. Each word matters, so try not to think of writing as "I must get from Point A to Point B," but "I must get from Point A to Point B beautifully."

-Avoid repeating the same word or phrase too much, especially within the same paragraph. There are exceptions in dialogue, of course. (It's sweet when writers acquire their own personalized phrasings that mark their voice, but I have turned away from works where the exact same line just kept coming up again and again).

-Don't forget about setting. You might be able to imagine where your characters are, but no one else can if you don't let them know.

-Use a consistent verb tense.

-Your characters are not you and generally shouldn't always be mouthpieces for you to share your own values and thoughts.

-Your characters should sound distinctly different from each other, including their talking styles.

-Don't bog the reader down with too much description, and make sure the description you do have is realistic. Think about it. In the morning, do you wake up, go to the mirror, and think to yourself, "I looked at my shaggy dark hair and emerald green eyes"? Nobody thinks that way about their own appearance, and it feels like a forced way to let the reader know what the main character looks like.

-There's no need to start tossing out every character trait if it's not relevant to the story.

-Last, show some passion and excitement for your own work. Make sure the language embodies that passion because if you don't even care about your writing, who will?

#writeblr #writing community #writing #writers on tumblr #for writers #writing advice #kestal #text post

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bunny584 · 4 months

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OBSESSED: SHOKO feat. The BOYS (PART II)

A/N: This is so…I am so…CLEARLY I was in a mood when I wrote this 😅 there is 100% going to be a third and final part. Please use the visual below to envision the…biomechanics of positioning and such, height differences and all.

C/W: ….the trio is their own content warning LOL, Mature 18+

Shoko is drowning.

She is suffocating.

And it’s your little hand that’s holding the back of her head under water.

…rather, she wishes your little hand would just grip the back of her head already and drown her face in your—

“Do you like the pink or the black dress better?”

Your eyes are wide and gorgeous. Finding Shoko’s in the floor length mirror, expecting an answer. An opinion.

But the problem is, Shoko has only one opinion.

And it’s that you’re fucking hot.

And beautiful. And pretty. And perfect.

And her jaw is so sore from how much she clenches it to keep herself from begging to eat your pussy like a woman starved.

Because she IS starved.

“Baby?”

Your girly giggle knocks Shoko back to Earth, just long enough for you to rip her breath away.

You glide over to the bed, where Shoko is seated. Thighs mashed together. As if it’ll keep her from leaking all coherent thought onto her panties.

“Y-you look pretty in…” Shoko’s voice is high and weak, before it shatters to stardust.

Seductive little grin tugs on your lips before you flick your tongue over Shoko’s bottom lip. She’s immediately cross-eyed.

Panting, with mouth parted.

Shoko’s heart is rattling in the back of her throat, how it always does before you kiss her.

Then you kiss her.

Your tongue dances with hers. Feather light pulls along the roof of her mouth. Shoko whines. She always whines when you makeout with her. Her entire body is loose and limp. The only stiff thing about her is her hot, sticky bud. Begging to be touched and rubbed while you fuck her mouth like this.

And she would touch herself while you did this to her, if she could. But she never can.

Because you’re a succubus.

You taste and suck and roll Shoko’s soul over your tongue like a glass of Sauvignon Blanc.

And right when you have her pathetic. Whimpering “oh god” and “please” into your mouth, you pull away. Planting one last chaste kiss on her lips or cheek before going about the conversation or task.

Leaving Shoko paralyzed.

“Pink it is!” You glide into Shoko’s bathroom, the boys will be over in a few.

“P-pink is perfect.” Words bubble out of Shoko’s lips a day late and dollar short.

But who cares? She can’t think right now.

Like clockwork, Shoko’s two fingers snake between her drenched panties and her leaky cunt.

She just…she just needs to take the edge off.

Because you’ve been doing this to her.

Kissing her until she’s soaking wet every day. Since that night. It’s a sick little routine you two have and it’s driving Shoko insane.

You’re always sighing into her mouth and calling her baby and holding her face in a way that makes her cunt twitch. And clench. And pulsate around nothing.

The second you leave the room or turn away. Shoko’s fingers fly to her core. Petting herself slack jawed and dumb.

Because even small touches keep her grounded.

And she’s NOT going to ruin this by trying to talk about it. And muddle your obvious chemistry with labels and feelings.

A sliver of you is enough.

Even though she is pining for the moment you fuck her mouth with something else.

“Girls?” Satoru’s voice thunders in your foyer.

For once you’re grateful for his utter lack of boundaries. He jingles keys for dramatic effect.

“Car’s here! The tequila isn’t going to drink itself.”

—

It’s going to take act of God to stop Suguru from cumming in his pants.

All night.

He has been physically restraining the steel fucking pipe between his legs all night.

And maybe he would survive if it was just the way you winded your hips on him the last 5 songs.

Maybe he would be okay if it was just the way you grazed your lips over his ear whenever you whispered something to him.

It was definitely the way you batted your eyelashes up at him. Holding eye contact while taking the kamikaze shots.

That are white and opaque, like his cum.

And being the sick, perverted shell of a human that he is. He pictured you swallowing his arousal. The same way you throated that shot.

Not to mention the “You have to hold eye contact with me, Suguru. Or seven years of bad sex.”

Sex?

You are sex.

The way you’re lapping him in the taxi home is sex.

With your dress splayed across him. Heat radiating from your precious little cunt held back only by gossamer thin lace.

Suguru can feel every tiny bump in the road. Because your pussy grinds and bounces and rubs the length of his shaft.

And he’s shameless.

Every time you lean forward to talk to Shoko, Suguru’s hand traces down your spine. His mind’s eye can only picture steadying the small of your waist while he fucks into you until you forget your name.

His cock is raging against his thigh.

He and Satoru have been exchanging dubious glances all night.

Especially when you pulled them both to the dance floor. You were a lock-and-key fit between them.

Like you were made to take them both.

“God.”

Suguru accidentally mumbles out loud. And he’s thanking/cursing out the gods as soon as he does

Because when you turn to look back at him, your hips grind in a small circle on his cock. And the friction nearly short circuits his brain.

“You okay? Am I too heavy?” Cotton candy on your voice and Suguru needs you to melt on his tongue.

Suguru purposefully bucks his hips upward - causing you to bounce fully off his lap. And he would impale you on the landing if he could.

He could suspend you with one hand. And rail the daylight out of you while standing up.

“You’re a featherweight, princess.” It’s a miracle he’s able to keep his tone steady.

“Oh, he speaks?” Shoko teases.

“Only because the love of his—“ Both you and Suguru land friendly fire onto Satoru’s chest.

Effectively cutting him off.

Satoru settles back into his seat. Riding his eyes along every soft curve and dip in your body.

Everyone.

And he means everyone (driver included) in this car except for you is fucking struggling. Keeping it together by a string of floss.

And he didn’t need his Six Eyes to see that.

Shoko hasn’t stopped panting since the night started. Every time you lean into her ear to giggle about god knows what, she moans.

It’s soft. Below the decibels of normal human perception.

But Satoru can perceive it.

The driver has had his left hand buried in his crotch the whole time. Goddamn revolting.

But Satoru gets it.

And Suguru.

Poor, tortured Suguru.

Satoru has never seen his best friend this blue balled in his entire life.

He has seen Suguru take swords to the chest. Satoru has seen him swallow shit curses as big as the Burj Khalifa. He’s seen Suguru suffer.  

And yet, he has never suffered like this.

There’s a light sheen of sweat draped on his forehead. His jaw is so tightly clenched his molars could vaporize into thin air. His hand drunkenly runs up and down your back when you bend over and dangle your fucking prize in Suguru’s face.

In Satoru’s face.

You are a tease.

And Satoru has every intention of getting you back for this.

There will be hell to pay for how irresistible you are. It’s maddening.

You could ask for the world and Satoru would bring you the Milky Way. You pout your lips and bat your eyelashes and somehow, somehow the batteries in Satoru’s brain die.

Every. Fucking. Time.

The whole car comes to a proverbial halt. Because you lean over to Shoko once more. Your dress bunched a little too high around your hips. Plump, perky ass cheeks in near full view in Suguru’s lap.

“Baby?” A snowflake hitting the ground in that car might as well be a raging hurricane. With how silent it is.

Satoru swallows the sharpest, driest rocks known to man.

Suguru rolls his bottom lip under his teeth. He’ll draw blood in a minute.

“Y-yes?” Shoko answers your call.

Starless skies fill the car but Satoru can see Shoko’s high crimson blush from the backseat.

Baby? Holy shit, Ieiri.

“Kiss me,” Melody on your lips is strong enough to sink a Navy fleet.

What Satoru sees next will be burned into his psyche for the rest of his life.

His overgrown cock throbs against his thigh. Beating more aggressively with each passing second.

He can’t remember when he pulled his glasses off. To watch your tongue wire into Shoko’s accepting, desperate mouth. You thread both of your hands into her hair while your mouth molests hers.

All in plain view of Satoru and Suguru.

And Shoko has no idea what to do with herself. Satoru can’t blame her. She’s full of high pitched moans and pants, drunk off of your love elixir.

God. Fucking. Damn.

“Oh, oh it’s that kind of night?”

Satoru is fully aware of the slur to his words. And the flecks of blood now currently under his finger nails from digging into his palms the way he is.

And you laugh in the way wind chimes sing in the breeze. How Satoru imagines the angels in heaven strum harps. Your voice is so…disarming.

“What, you jealous pretty boy?”

You flash him a smile that Satoru is sure doubles as the cure for any and all communicable diseases. A smile that could get answers out of the CIA or KGB.

“Maybe. A little bit.” Satoru is all rasp. His hand palms his length on its own accord.

He has no control here.

Your eyes flicker down to Satoru’s mouth for a millisecond. And in a flash his lips are on yours.

He grips a handful of hair like it’s his life-force. Your kiss is sweet. And dizzying. And toxic. Nothing like this can be pure, it can’t be good. Satoru is convinced his heart will stop beating after taking a bite out the apple in your Garden of Eden.

But he could die on your lips. Right here. Right now.

“Oh Satoru…” you purr into his mouth and he shamelessly squeezes his cock.

You are unfair.

'I’m jealous too, pretty girl.” Suguru’s voice slices through the thick lusty silence.

You say nothing before you pull off of Satoru’s wanting lips and take in Suguru.

Satoru and Shoko watch you nestle deeper into Suguru’s lap.

His hands drift from your waist, to your hips, around to your ass. The way your flesh dimples when he squeezes sends electric currents through Satoru’s cock.

He watches you deepen your kiss with Suguru, who is so clearly tantalized. So clearly about to split you in half.

His fingers twitch along his zipper for a second.

Then time stops.

And so does the taxi.

You take a second to pull away from Suguru’s lips but Satoru doesn’t miss how puffy and flushed your mouth is.

Your eyes dart between the three of them. Then out the window.

“Oh! We’re home!”

FINALE

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