dc character combos that don’t really exist rn but definitely would if warner bros discovery handed me the wheel:
1. oracle and cyborg — bro this would be SO sexy. loss of personhood and autonomy + liberation through information and technology??? VISIONARY. they could talk about how their dad’s are kinda fucked up. they both love accidentally adopting children. i need a limited series STAT
2. starfire and poison ivy — litchrally the photosynthesis gang. womanhood and the violent loss of self and the unending horror of feeling. u want to protect what u love and u are feared for it. maybe they could kiss!! know their wrath!!!!
3. mr miracle and nightwing — oh! u can never stop performing! ur father is always with u and he has hurt so many people!! can u escape ur own fate? do u want to escape? u want the fighting to stop and yet u hold the sword. u also think tall women are super hot.
4. damian wayne and bart allen— i have no explanation for this aside from that it would be deeply hilarious
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My head is dumb filled with thought of Lucifer putting a collar on us not only for our punishment but for the brothers as well cause we had an orgy in his office. The collar is enchanted to make we don't touch ourselves and alert the Lucifer if his brothers decided to get intimate with us
Nsfw
Honestly- I’d rather have to put a collar on and behave then clean Lucifer’s office up after an orgy jsjsjsj
But imagine how frustrating it’ll be after a week-(probably longer- because Lucifer’s having fun with the punishment -_-)
Everytime you think it’s safe to touch yourself, your phone rings and it’s always Lucifer!! Now you could ignore him….but that’s just not a good idea he’ll find you and then you definitely won’t be coming- so instead you answer and everytime it’s the same thing, “I know you can’t help yourself darling, but what have I told you? That’s right. You’re not allowed to touch yourself. This is your punishment.” clicking his tongue and hanging up before he can even hear your protests-
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i've been thinking a lot about the word "representation" and what it means and how it's changed over the last few years, particularly when it comes to the writing/publishing landscape but also in movies and tv shows… and i really don't like it anymore. to be clear, of course i think it's important to have diversity in your work, i'm not saying i hate the concept of representation. but i do really dislike the way it's used now, and i really just hate the word itself
in a broader sense it's just become a marketing tool. i'm not impressed by any publisher or author who just describes their book by listing all of the minorities/identities the characters represent as if that should be enough. it feels very gross, very exploitative and disingenuous. it also really bothers me because it's always marginalized identities- which i understand Why, but it feels very othering to me (and again. Very exploitative as an advertisement). you would never list out "cishet able-bodied white man" as a character description to pat yourself on the back over. so why do it to everyone else? why insinuate that one is the "default" and the other one is "special"? (and when i say this i'm mainly talking about advertisements/marketing. i understand why people would specify about characters in descriptions with the plot, but i don't like to see an ad that's just "this book has gay people!" with nothing else)
which then leads me to my other point, which is that a lot of people treat "representation" as if it's "too hard." like "oh i don't know enough to write about that, i don't have that experience, etc" which is a fair way to feel! however… it's weird that people only say this about writing trans characters or characters of color. i'm writing a story right now with a character who is really into motorcycles. i personally do not know that much about motorcycles, so i researched what parts are what & what different kinds of models there are & what basic bike care looks like. i guarantee Most people will have to google something at some point in their writing process. so what's the problem? it also, again, feels very othering when authors treat certain groups of people as "impossible" to write, "too hard" to understand. they are just.. people. you write them as a person. and then you figure out the rest later.
and i think part of the refusal or fear to write something outside of your experience is because of the way representation is treated as So Special. these characters are So Special that they aren't allowed to be anything other than "representation." they're Not allowed to be characters with complex emotions and interesting motivations, they have to just be Trans or Gay or Disabled or whatever. they're not allowed to be people. which means, at the end of the day, we loop right back around to where we were at the start….
there is bad representation. there are depictions of certain marginalized people that are harmful and that are damaging, i'm not trying to minimize that or argue against it at all, in fact we should all be mindful of that while writing and reading. but i also think it's possible to swing too far in the opposite direction as well and put certain groups of people on a pedestal and not allow them to do anything at all but be Perfect Representation, if that makes sense.
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Older women loving Aemond would totally be into Wanderer, especially when she tells him stories of other realms.
He would find Wanderer fascinating at the least. Though given his nature, I see more of deep running fascination bordering on obsession initially—just something that itches beneath his skin as he’s shown to hold onto emotions/ideas to a festering degree. Especially given the fact I imagined Wanderer being around 500 when she would meet that generation of Targaryens/the Dance. Wanderer sees clean through him. See behind the eye (they’ve seen worse, and have experienced worse), behind the ambition (yes, he would be a better king, but tells him plenty rule without a crown; a crown is a symbol for the figurehead but loyalty of the land doesn’t always reside with the figurehead), not to mention Vhagar.
Just imagine Aemond having the biggest oh MomentTM while Wanderer bows deeply to his dragon who inhales puffing breaths of her scent and seems to melt with recognition, the snarling growls falling silent. Wanderer stroking those battle-worn scales with loving affection (likely the first time Aemond sees genuine softness and something other than mild indifference/annoyance while at the court), murmuring to the she-dragon in old Valyrian, talking about Visenya to the dragon as if they’re all old friends. Wanderer is some bizarre, ancient, otherworldly individual who looks no different than most people in King’s Landing and he finds it maddening and magnetic all in the same breath.
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blood4blood was a little under two weeks of work; i really want to try and push myself to make shorter text games with strict deadlines, as opposed to my longer, more elaborate games. i was inspired to make this mainly when i saw strawberry jam, and i decided to make something that i could also submit to queer vampire jam. i set out to showcase two polar opposites of the lesbian sex experience, with a stone main character, and the added complexity of vampirism. not all-encompassing by any means, but i enjoy writing the kind of sex that i personally feel doesn't get represented properly (if at all) in more mainstream media.
i'm going to talk a bit about both blood4blood and bleeding heart under the cut
if you've read any of my other more recent work then at this point it's very obvious i love lesbian vampires. "reclaiming" feels too strong of a word, but i do like using this typically negative archetype of the lesbian vampire and giving a more nuanced depiction of it; the exploration of what society has deemed "monstrous." the fear of being predatory, the fear of hunger, desire, and sex, the potential for harm that every person carries. vampirism is very versatile as a metaphor.
i think of one of the scenes in stone butch blues, when Jess is first learning about butch/femme dynamics and sex, and Jacqueline tells her that she has the potential to make a woman feel both pleasure and pain, and knowing that, and knowing the difference, is what would make her a good lover.
i like depicting vampirism in this way. and i've ranted previously about why i dislike "ethical vampires" and this is why: because it's a metaphor!
in Bleeding Heart, Cecilia grievously harms her brother, potentially killing him, and can also kill Sawhill or Emina. yes, in the narrative she kills them, but it's not meant to be read so cut and dry.
i didn't want Sawhill (or even her brother) to be these Evil figures oppressing Cecilia, i wanted her killing Sawhill to feel kind of bad; he was misguided, but he was doing what he thought was right, and he did really love Cecilia. but it doesn't matter, because Cecilia can't love him in the way that he wants, and her telling him that, and being true to her nature, is what kills him. as someone who is still one foot in the closet myself, there's this looming threat over coming out. it can destroy relationships: with family, friends, coworkers. people will look at you differently, people may hate you, cut you off, disown you. while we live in a more accepting society now, this potential backlash and violence is still very real for a lot of people, and that's what i wanted to allude to. Sawhill is dead to Cecilia, both literally and metaphorically, because he cannot accept her.
and killing Sawhill causes a domino effect: Emina steps in to protect Cecilia, triggering the realization in her that she really is just like Cecilia. if Cecilia does not kill Sawhill, this doesn't happen, and Emina runs off, because she's not ready to face who she is in the way that Cecilia has done - Emina is trapped by Sawhill's expectations of her as his servant. Cecilia can even go so far as to kill Emina in her anger, by essentially trying to force her "out of the closet." all the while Darcy is there watching, ever present, this aspect of Cecilia that she can no longer repress.
in blood4blood, when writing Noor's route, i wanted both the player character and Noor to hold some kind of power. both can make the other feel good - both can make the other hurt. but in the end, they both lay everything out on the table, and choose to trust each other.
with Ramone, her and the pc are both butch, they are both vampires, they both feel like they have this inherent predatoriness to their desires and attraction. they've isolated themselves. but together they talk openly about what they like and don't like, and find pleasure in a way they both enjoy.
of course i could write these stories without including vampires, but i like the severity that it brings to the narrative. maybe it's dramatic, but i think it really emphasizes how dark and difficult these feelings can be for some people; it's not so easy to shrug off and ignore, it really does feel like you're cursed, that there's something wrong with you. and i like taking that and saying yes, there is something wrong with me; it will always be this way so long as society remains rigid and oppressive as it is. you know?
anyways. i love lesbian vampires 🖤
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I do realise I might be annoying, trust me I do, but have you seen the video "Majima watching red bird Majima"? I found it today, and nobody else came to my mind except for you and your blog. I'm so sorry
not annoying at all! I have seen it and I love it kldjkljdfkljfd
I also love that you thought of me klKJLKLGDKLD
for those that haven't see it
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As much as i sht on merlin, he is actually very kind and does operate on his own moral compass. The fact that he let aithusa go and choose its own master was already very significant.
At that brief moment he did not follow the idealogy that gaius/kilgharrah drilled into him for 8 years that "magic should be used only for good." (wtv good means)
By giving his beloved Aithusa a choice, by not forcing it to stay with him (even when he could absolutely command it to), he reverted back to his original self from s1, to the Merlin who just wanted to be accepted and be free for who he was, to do what he wanted, to be kind and respect others' choices and agencies.
There is hope of healing for Merlin. His treatment of Aithusa showed us that the wide eyed innocent boy who arrived in Camelot was still there inside him.
And I guess it goes the same for Morgana. She was still deemed worth saving by the baby dragon, even when Merlin already gave up on her. She still had love and care left in her. A tiny bit of her heart is still the Morgana who looked away and raged at the king for killing innocent people.
Aithusa was the omen for hope for the world of magic. Kilgharrah was not wrong.
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