Sub Bucky and a breeding kink 💀 dead unlived it's one of my favourite things 😌
This is pretty high up there on my list of dream fantasies 🥵 these are two of my biggest weaknesses, don't even look at me rn
One of life's greatest joys is cuddling with the other person's head resting on your chest so you can play with their hair and rub their shoulders. I love that shit, having someone else's body weight on you is so comforting.
I imagine that's something Bucky would really enjoy too. It's so soft and sweet and tender and getting to feel cared for would really appeal to him.
But that's up until his hands work their way under your top, up over your bare skin so he's able to cup your breasts and bury his face between them while he's getting his hair played with. Life's pleasures don't get much simpler than that.
After a few moments he shifts slightly, tugging the neckline of your shirt out of the way to give himself space to kiss and nip your skin. All of a sudden he's desperate and it's beautiful to watch.
"Please." He whispers between frantic kisses, flicking his tongue over the stiff peak of your nipple before engulfing it with his warm, eager mouth.
"Please, what?" You tease, tugging on his hair just a little for emphasis.
He groans, frustrated by his own lack of coherence, pulling his mouth from your nipple. "Please let me put a baby in you."
That's not what you were expecting but fuck, he makes it sound pretty appealing.
"Bucky-" You begin but he cuts you off, giving your other nipple the same attention as he gave the first. God, that's distracting.
"You'd make. Such. A pretty. Mommy." He whispers, kissing his way down your body until he reaches the bottom seam of your top. From there, he pulls it off, letting it fall to the floor before removing the rest of your clothes.
"You'd look so pretty with a little baby bump." His huge hand rests on your bare tummy, imaging how your body would change.
"I want it, Buck." You mean it too. It doesn't sound like such a bad idea when he's taking his clothes off.
"I know you want it." He groans, rubbing the tip of his dick against your soaked core. "Y-you're so wet."
He presses his hips forward, sliding inside you and you can't explain it but you swear it feels different this time.
"Don't even think about pulling out." You cup his face in your hands, keeping his eyes on you and you almost worry he's going to fuck himself senseless into you. "I want you to make me a mommy. You're going to give me every single drop of cum and when it starts to drip out of me, you're going to fuck it back in."
His head falls onto your shoulder, sobbing a pathetic moan against your already hot skin. The pace of his thrusts matches his need, his hips slamming into yours and when he finally gives in, he cums inside you with your legs clamped around his waist, making sure he couldn't pull out even if he wanted to.
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OKAY who wants to hear about why i think nimona challenges amatonormativity? you do! 🫵
one of the main ways this is accomplished is through ballister and ambrosius’s relationship. it’s arguable that it doesn’t necessarily fit the traditional model of romance - not only are they a queer interracial couple, and not only is their relationship ambiguous in the book, but there are certain instances, especially in the movie, that subvert traditional ideas of romance and friendship.
one instance that really stands out to me is when the director asks ambrosius what’s on his mind and he goes on his imagined rant about how arm-chopping isn’t a love language - you know the one. when he mentions ballister, he refers to him as “the man i love, my best friend.” and not just one or the other, but both! the man i love, and my best friend. he places equal emphasis on both the romantic and platonic aspects of the relationship, valuing ballister in both a romantic context and a platonic context without treating either one as more important than the other.
and even moments such as the first “i love you” and the kiss manage to subvert tradition. both of these things are generally seen as a pretty big deal, especially in fiction - if the characters are kissing or saying “i love you,” it’s usually a moment in which everything changes. a line is drawn, dividing the story into after and now. sometimes it’s dramatic and climactic, with fireworks and a swell of music, but even when it isn’t it’s still seen as a turning point of sorts. now it’s official, now it’s real. but this isn’t the case in nimona. both moments are certainly significant - they do a good job of showcasing the character development and where ballister and ambrosius are on their respective journeys, and are certainly important in terms of representation - but neither one follows the path that most fictional romance does.
another way in which nimona challenges amatonormativity would be the emphasis on friendship! in the tavern scene (in the movie) when ambrosius suggests killing nimona, ballister disagrees and says “she’s my friend.” ambrosius replies with “aren’t i more than that?”, implying he’s more important than a friend - thus upholding amatonormative ideas. ballister becomes angry at that and leaves - challenging this idea and prioritizing his platonic relationship with nimona over his romantic one with ambrosius, as nimona is the one he wants to defend.
additionally, a big part of this scene is the way ballister deliberately rejects institute values while ambrosius unintentionally upholds them. and because the story challenges homophobia and transphobia (and other forms of bigotry) through the lens of the institute, it would make sense for it to challenge amatonormativity too! it’s something that’s become incredibly normalized, to the point that lots of people don’t even know it exists, and this is reminiscent of the institute brainwashing, especially when it comes to ambrosius - he’s been manipulated his whole life and probably genuinely doesn’t understand the level to which he’s internalized institute beliefs.
ballister prioritizes nimona many times, actually. when he tells ambrosius she’s “smart, kind, and quite sophisticated,” when he’s overjoyed to see her again at the end, when he refuses to kill her and saves her instead. over and over, he proves how much he cares about her, even when this involves directly going against what ambrosius wants - which, of course, is really what the institute wants. a core tenant of amatonormativity is the false notion that romantic relationships are more important or valuable than other types of relationships, but ballister actively goes against this!
to conclude, as a story that at its core is about identity and challenging societal beliefs, nimona defies expectations and traditional ideas of what it should or shouldn’t be. it’s possible that amatonormativity wasn’t what the creators had in mind, but the story still manages to challenge it with grace and elegance. just like its main character, nimona refuses to conform to what others want it to be.
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Sorry I never gave a proper update on tumblr——
here’s some brainstorming doodles from Keo and me on the white board and some examples Keo made in my notebook. I won’t forget it, one of my harshest note was “NEVER draw Kenny in 3/4!! Trey hates that!” 🤣 The story leads stressed that Trey is very particular with acting decisions and poses, most of which don’t translate into the animation. It’s for him at the editing stage, to “make his voice sing”. Getting into Trey’s head, funnily enough, requires FEELING. Feeling what he’s going for in terms of delivery, to learn what not to take literally in his script (when trey says “kathleen kennedy is like terminator” it’s not what you initially think it means), what emotion or gesture to put in to elevate a joke, to get the message through. It’s so fascinating!
In short, I didn’t make the cut. I was “too fresh”, and needed more experience with the technical aspect of storyboarding…. but I was complimented by Keo for my intuition, something that can’t be taught. I was over the moon when I was told I got the style of the show, whereas other trainees with 10+ experience couldn’t. Some of them tested but don’t even watch the show!! That’s crazy, but I guess that’s to be expected. My knowledge of the show and deep love for the characters got me this far, but I need to work on my actual story boarding skills (keo said my struggles are in composition and scaling) to stay!! 💪🏼 I’m taking this… as a not yet, not a no. I’m already on their radar, in their database, I’m incredibly lucky I got to make my THIRD connection in the studio, I just need to work on myself until I can arrive. I’m so grateful for all the support from friends family and industry moots to get me this far, it’s only the beginning of the year but I don’t think anything could top what happened to me this March!!!!!
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something something I turned them into creatures because I saw a few other people do it. I might make Alex and Brian later but I actually have more planned for Jessica and Amy. I guess this counts as an Au...? My brother helped me with Jays design so that was cool, shoutout to @rorystr 🫡
Scratches head, ig like the most I've got for this au is that most mythical creatures live amongst humans, disguised as them, and completely unaware of other creatures living amongst them. (which is too few anyway, they are mythical creatures after all not common creatures) It just turns out that by some insane coincidence, almost all of the cast of marble hornets are secretly dudes in disguise (loud vine-booms). Also the operator sickness is still a thing and the operator is still the same old entity of malice just more fantastical yk? Alright enough of my blabbering I'm sleepy… I want to rant sm about how I think angels and other types function in this au but not rn 💥💥
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