Tumgik
#if you haven't figured it out
cazzyf1 · 2 years
Text
I now have a badge to wear everywhere so I can let everyone know of my obsession 😂
Tumblr media
13 notes · View notes
tearlessrain · 1 month
Note
please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!
gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.
Tumblr media
SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:
diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.
non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.
the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.
now, on to how I apply this to bdsm in fiction.
if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.
if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.
this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.
it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.
but yeah, spontaneous writer plug aside, that's what I mean.
15K notes · View notes
Text
Rewatching the 911/911 Lone Star crossover and I am going to explode
Tumblr media
Buck starts out shit talking and being competitive with TK then Buck compliments TK after he saved him saying he had "nice moves"
Buck comforts TK when he's upset and offers to do something reckless to help him before telling him, and only him btw, he wants to see him again
Tumblr media
TK sees all of this and thinks Buck must be flirting because why wouldn't he but this is EXACTLY how Buck acted when he met Eddie
Tumblr media
Someone is reading these situations wrong and I don't think it's TK
2K notes · View notes
otiksimr · 14 days
Text
Tumblr media Tumblr media
WIZMAXIA, Wizama's final evolution. [1] [2]
I was originally planning on having all three starters together in one big drawing but I would probably die if I did that.
327 notes · View notes
canisalbus · 4 months
Note
Machete and Vasco are so pomegranate-and-the-hand-that-slices coded. To me.
Pomegranates are seen as messy, bloody, inconvenient fruits. You slice or tear or bite and in return for your effort you come away underwhelmed, disgusted, and stained too deep to wash. The consumption of a pomegranate is a violent act of defilement, for both the fruit and the eater.
But that is because most do not understand how to open a pomegranate. They have little patience for the precise carving. They see no point in coreing the fruit gently, no reason to be reverent as they pull the quarters apart. When done correctly, opening a pomegranate leaves little mess. Your fingers will still stain, your knife will still slick, but there will be no pool of crimson drowning both you and the fruit.
The seeds are only sweet to those who understand the merit of a light hand and intricate slicing. Why put in so much effort for a food so bitter and clearly armored against consumption? Surely it must not yearn to be eaten.
(^insane about silly catholic dogs)
.
617 notes · View notes
gazspookiebear · 12 hours
Text
Mmm, thinking about Ghost going on a date with reader after not having been in a proper relationship in years
He was never one for hookups, and he could never keep long-term relationships. Most lasted about a month at most before he backed out.
Fast forward to now, he's been invited out by you. He figures it'll be like most other dates, a quick dinner at a noisy restaurant before he gets overwhelmed and leaves.
To his surprise, it isn't. You kept his comfort in mind and suggested a walk by the bay instead.
When he walks beside you in silence, you don't seem to take offense. In fact, you don't seem to mind at all. You fill in his silence with easy conversation, keeping it focused on you and not trying to pry into his personal life.
You don't hesitate when he responds with one word answers, instead taking the opportunity to discuss an interest of your own. By the time it's long past dark out, you offer to take him home, apologizing for not acknowledging the time sooner. He didn't want to stop listening to your voice
When he declines your offer, you smile. You tell him to stay safe, to rest well, and to text you when he gets home.
At his apartment, he can't stop thinking about you. About how polite and kind you were. About how you actually cared about his feelings, how you weren't off put by him.
He glances at his phone.
You receive a text at 1 in the morning. A simple 'Back safe.'
223 notes · View notes
babygirlkaramatsu · 8 months
Text
Tumblr media Tumblr media
hello, my fellow karamatsu comrades.
⛔ BLMATSU / PROSHIPPERS DNI!! ⛔
789 notes · View notes
wildflowercryptid · 3 months
Text
Tumblr media
it's all fun and games until your goofy ass kinnie jokes actually start to bring some interesting similarities to light.
279 notes · View notes
solacium · 1 month
Text
touch // aventurine
i think he would be like a cat. come to you for affection? not a chance in hell. but ok..... you know maybe lean his head on your shoulder while you're reading on the couch. maybe you shift to accommodate him, drape an arm across his shoulders, pull him in, almost absently. no sudden movements, you'll scare him off. and if you're just gentle enough, he might let you. might remain where he is, head on your shoulder, unmoving but for the rise and fall of his breathing. no searching hands, no reaching — but you can stroke his hair, softly, occasionally. twirl it around your finger idly, no tugging, not too much. it'll make him smile, on a good day, but only when you're not looking.
today, he just sighs. you don't ask how he is — some things can't be put into words, and that's not what his are for — but you can rest your head atop his, breathe along with him, arm around his shoulders firm and gentle. if you're attentive, you'll feel the way he slowly, reluctantly lets go of the tension in his body— the coil in the base of his skull, the taut line drawing his shoulders up imperceptibly. he'll learn to melt in your hands, one day, but you'll have to earn it. for now, this is enough. maybe you melt first, forget what you were paying attention to initially, feel the warm weight of him against your frame, the scent of him, the ebb and flow of his breath, slowing to match yours; his pulse, slowing to match yours. he's let you this close, he might fall asleep on you. if you notice, you'll put what you're looking at away and twine the fingers of your other hand with his. he won't know how to ask for it, but if he hasn't completely drifted off, he'll squeeze your hand, gently. sleep, you'll whisper, i'll be here. and he won't reply, but you'll feel him press closer, soften against the shape of you, drift away. you watch him for a moment, watch the fan of his light lashes against his cheek, and how his eyes flick beneath his lids with unseen dreams. if you fall asleep with him, you might catch him as you're waking, an uncharacteristic softness in his features, before he notices you've noticed. maybe if the time is right, he won't care that you have. but you won't speak of it. you'll both wake, and he'll interrupt the moment, eventually, rise from the couch, put the mask back on, but the sweetness of it will linger, barely perceptible, only to you.
294 notes · View notes
shevr · 1 year
Text
Tumblr media
whats down there
1K notes · View notes
camelotsheart · 11 months
Photo
Tumblr media Tumblr media Tumblr media
or: merlin uses the horn of cathbhad to summon arthur's spirit (before you ask, yes there are fics)
946 notes · View notes
cornflowershade · 11 months
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Satang & Winny on Sound’s love song (x)
Laughed hearing him describe it this particular way. Sound really said: who else but me? It’s not like you’ve got options. <3
842 notes · View notes
styllwaters · 5 months
Note
do you have any ideas about Knight language(s)? How they sound, work, etc.?
I'm glad you asked! Sorry this took so long; it's a bit of a long one.
For Knight languages, all vocalisations originate from the Host. Spoken language is harsh and guttural, consisting of deep growling, hissing, and ‘rolls of the tongue’. Their growls are quite loud, and accompanying them are low-frequency vibrations which can be felt across the entire body. The closest approximation would be cassowary rumbling. Hosts rely less on their ears (which are small holes hidden under their fur) and more on vibrations to detect sound.
Helmets are incapable of making such complex vocalisations and instead use many forms of sign language to communicate via their manipulators. When a Knight mentally separates their Host and Helmet, the Helmet is no longer able to speak through the Host. As such, there are two main language forms used by Knights of every regional variety; the vocal Host language and the signing Helmet language.
However, typically when Knights are communicating, they may use a mixture of the two, called Speech-sign. Helmet signing accompanied by Host speech aids in conveying proper tone, considering Host articulation tends to be very monotone. It also contains underlying messages; or what we would call subtext. As a result, Knights tend to be highly attentive to body language and focus on hand movements rather than eyes/mouth when in conversation.
Tumblr media
[Pictured above: the Plains pike-fort Kryyit-kan conversing with their guard-spire mate, Ynsi-jehwa. Kryyit is apologising for squishing Ynsi's favourite pet bug.]
There are some ‘universal’ signs and gestures which are generally understood by all Knights, no matter the language or region. Many of these signs are also used during hunts to communicate from afar without startling prey. Mountain, Plains, and Polar Knight children are taught these from an early age.
Tumblr media
[Pictured above: the eight essential signs used by all Knights. Helmet manipulators are highly dexterous and can move in various directions.]
Knights also have ‘drumming’ languages, which is a method of communicating over long distances. Mainly used in Plains regions, Knights drum on the sand with their back feet in patterns not unlike Morse code. For more reliable and accurate communication they may use a thumping device. Knights are able to detect these seismic disturbances over vast stretches of land.
ADDITIONAL FACTS
Mountain Knight names tend to contain a lot of consonants and are the most hissy/raspy/guttural. The Host name comes before the Helmet name, and they are combined into one. (Eg. Neghasharat-Hksuutaka = Negha-taka)
Plains Knight names have more vowels and are slightly higher pitched. They are similar to the Mountain naming scheme, except the Helmet name comes before the Host name. (Eg. Krryitmana-Kankala = Krryit-kan)
Polar Knight names are not two-part. They do not name their Host or Helmets at all, only naming the Knight infant when they are assimilated. They are generally shorter and are the highest pitched. (Eg. Reio)
Knight 'laughing' sounds exactly like tiger chuffing!
229 notes · View notes
harunefrog · 4 months
Text
I drew a thing!!! You know this one!!!
Tumblr media
191 notes · View notes
So I went searching for special dialogue for a romanced Alistair, who stayed with the wardens, about a HoF who made the ultimate sacrifice. Specifically for what he says in DAI. For reasons.
I know what he says about her when she's alive in DAI, so I was curious if he'd saying anything about her if she's dead, like Leliana and Morrigan do. After reading through all sorts of forms and reddit posts where most of the answers were "huh I dunno what he says in DAI, I've never done that route," I eventually found out what he says.
Nothing.
Romanced Alistair says nothing about a dead HoF in DAI. At first I thought this was odd? Surely there's something referencing the fact that he and the warden were in love? even if just for fanservice like in DA2? Some of the comments on these posts blame it on Bioware doing bad writing again but it's hard to tell if they actually mean that, or if they're conflating "I don't like this" with bad writing because honestly? I disagree.
Intentionally or not, Alistair not saying anything about his dead lover is completely in character for him. He doesn't know the Inquisitor. Why should he tell them anything about the love of his life that he lost ten years ago? He's not as open about that stuff like Leliana or Morrigan.
You know what's actually out of character? Alistair giving a random stranger he met for two seconds an item that belonged to his dead lover because "she doesn't need it anymore."
Wasn't it enough to ruin his face, DA2? Did you really need to throw in some botched fanservice as well?
Wait a minute, Varric's telling this story...
Alright, new headcanon: Varric is, as per usual, full of shit. Alistair did give Hawke an item because he felt bad that he couldn't help them with the qunari except it wasn't anything special. But that's not interesting enough, so Varric lied and said Alistair gave Hawke an item that belongs to THE Hero of Fereldan for the sake of showing how super special Hawke is.
178 notes · View notes
revvethasmythh · 1 month
Text
You know, I think it's interesting that Liliana is exasperated with Imogen for thinking Predathos is going to cause loss of life (outside of the gods), but re: Imogen's dream in ep. 68, when Imogen feels the draw to Predathos, Liliana shouts to her, "Imogen! Please run! I won't let it have you!"
Does this mean that Predathos is not a threat (as far as Liliana has been told) to common folk, but is a threat to Ruidusborn? Does this have something to do with why they are amassing Ruidusborn in Kreviris, in preparation for the mass migration to Exandria? This adds some interesting implications to her statement to Imogen about having children to look after. Does she mean the other young Ruidusborn she has personally called to the moon, as she did Petrov? "It" (presumably Predathos) can't have Imogen, but it can have the other children she's "looking after"?
She also seems to believe that there's a future for her after releasing Predathos, so it feels like she means something more than just giving in to Predathos' influence. She's done that, after all (as far as we know), and she thinks that's not the end of the road. She's trying to convince Imogen that Predathos is not a threat, but at every turn she is also telling Imogen not to get any closer because Predathos is a threat. Which one the fuck is it, Liliana?? Imogen is right for perceiving Predathos/Ludinus' plans as a threat that will cause loss of life because that is how Liliana is treating it every time she pushes Imogen away. So what IS happening with the Ruidusborn recruits that has Liliana so determined Imogen not get close to it? What does it mean for "it" to "have [them]"? And why is Liliana unafraid for herself?
144 notes · View notes