Confession: I Want Garrus To Tie Me Up With My Legs Spread And Then Fuck Me Hard And Deep. I Don’t

“Nevertheless, although the way the Bathhouse is staged recalls a megalopolis, Miyazaki did not choose to show it from a futuristic angle, in contrast to Tezuka Osamu. The references are more ninetheenth and early twentieth century: the forge, the apothecary’s cabinets, the tatami room, the tasuki sashes, the old-fashioned elevators, the curtains and wall hangings in the old woman’s apartments, as well as her hairstyle, and so on. It is the world of bourgeois order. The old woman’s face, her Victorian bun, and the way her rooms are decorated all suggest it - at the very top of this closed and vertical universe lives an Anglo-Saxon-looking witch. However, neither the Japanese people nor Japanese culture (starting with the public-bath tradition) are entirely remote from this world. In fact, they are completely taken with it and are confirmed stakeholders in it; one of the more obvious reminders of this is that the outside of the Bathhouse clearly brings Sino-Japanese architecture to mind. But it is not an ancient architecture recalling a specific style. It is a hybrid building, almost a pastiche; it is made not of wood but of conrete painted and decorated in the 1930s style known as Imperal Crown, like the Tokyo National Museum. Miyazaki thus evokes the Rokumeikan palace, built in 1883 by the Japanese government to welcome Westerners, and the salons of Gajoen and Meguro, popular spots for bourgeois weddings.”

“[…] Even though allusions to the West are the most pronounced, it is interesting to note that there are also references to Buddhism, a religion that in Japan is consistently described as a foreign creed. There are at least three allusions to Buddhism, each of which could plausibly be accidental but collectively leave no room for doubt of their working together. The first is in the name borne by the witch’s son, Bôh, a word often used in Japanese to mean just “boy” or “kid” but that primarily means “monk”. The second occurs in a quick scene that takes place on the banquet level, where we see a small sign that says “Pure Land” (Jôdô). And finally, the big mole on the witch’s face is placed where one might usually find the “third eye” in Buddhist iconography. Buddhism is thus clearly associated with the upper spheres of society, with power and money. Beyond socio-historical criticism, however, the allusion to Buddhism indicates that the vertical world is first and foremost one of eschatological promises.”

“The possibility of reaching the world of horizontality is granted to Chihiro thanks to her resistance to the laws of verticality - she never espouses the system of mimetic desire. Not only does she refuse the gold that Kaonashi offers her, but she refuses to give in to her new friends’ desire for wealth. Her attachment to people, beginning with her parents, is sincere and unwavering. She does not, however, have just one thing in mind (restoring her parents to human form, for example), which would amount to a form of fantasy. She handles situations in real time, based on circumstances, and solves problems as and when they occur. This is why she gives the antidote that could have saved her parents to Haku and Kaonashi, who need it immediately. She also avoids being reduced to the object of other people’s desire while still remaining sympathetic and compassionate, as we see from her relationship with Kaonashi.”

“In short, Chihiro is driven by the power of her heart, which also dictates her moral sense. She is quite willing to imitate the way poeple look or act (she has no problem dressing like a servant and does her best to wash the floor like a practiced hand), but she does not adopt their aspirations. She can therefore have genuine relationships with people. She forges strong and lasting bonds, as symbolized by the tasuki - the white sleeve ties that she wears in the film’s poster. Miyazaki thus contrasts the fake depth of the Bathhouse, which is of Western origin (but into which modern Japanese culture has been completely absorbed) and which keeps individuals in a state of severe and ridiculous anxiety vis-à-vis death, with the real expanse, the real depth, which is an awareness of the bonds that link people to one another under any set of circumstance and in real time, and that link mankind to nature.”

Imitation and Creativity in Japanese Arts; from Kishida Ryūsei to Miyazaki Hayao, Michael Lucken, 2016.

Female Character: *Everybody is immediately drawn to her for no discernible reason*

Female Character: *Extremely powerful compared to all of the other characters within the story; there’s no reason as to how she became so powerful*

Female Character: *For some reason is able to quickly pick up new skills in a period of time comparable to a genius; no explanation for this too.*

Female Character:  *has virtually no weaknesses except she’s clumsy teehee :)*

Person: Isn’t this kind of a mary-sue?

Tumblr: why do misogynists like to invalidate strong female characters???????????

Sex with Vegeta would include...

[NSFW]

…no pause between finally dating and having sex for the first time - a soon as you were together, he took you.

…him tearing your clothes many times from getting frustrated with the unnecessarily complicated trinkets on human clothing.

…him holding you down while he takes in your body by roughly nibbling or kneading every inch.

…him later stating that he wanted to “claim you” as soon as you were his and that’s why he rushed, but you forever being convinced that he was releasing sexual frustration he’s built up towards you.

…Vegeta taking complete control in bed and hating the idea of being dominated, though you knew better than to complain and didn’t exactly feel the crave to do so.

…him being drawn to you by how strong-willed you are and turned on by the idea of overpowering that. 

…you even feeling like you have no control when you’re riding him; him pulling you on top of him without warning multiple times and moving your hips.

…your wrist and hips constantly ending up bruised from him holding you at his mercy, but him immediately loosening his grip when you’d wince in pain and not moan - he’d deny it afterwards, of course.

…despite sex being almost animalistic, he always holds you with a strange gentleness and care.

…basking in the feeling of his arms holding you every minute, supporting your weight with ease and like a protective cage.

…repeatedly having to hide bite marks on your neck, shoulders, and thighs, and you treasuring them in a way, enjoying to know he’s trying to mark you as his.

…him insisting he’s declaring you as his property, but you knowing it means so much more than he’d ever admit.

…sex being rare thanks to his focus on training, but when he finally decides he has time to “humor you,” he steals you away for a long time and for as long as possible to make up for lost time. 

…that is, he’d try to act as if it’s him who needed to hold you, rather than the other way around.

…pretending to be asleep, just to feel the customary brush of Vegeta’s soft lips on all your bruises and wounds. You never tried to call him out for it, however, fearing he might stop secretly consolingly you as a result.

…your body hurting in the morning every time, but you having ample time to adjust to the soreness as you’d cuddle up against Vegeta, who just so happened to sleep in every time.

…smiling like an idiot at the fact that you know he’s pretending to be asleep so he could hold you while you heal.

(Requested by @myfireangel09. Not my gifs. No idea why I chose that Vegeta Gif - it was just hot.

If you guys want, please go check out my YouTube Channel, Geeky Fanatic. You’d have my utmost gratitude. ^^ Only sub if you like the content, though. I wouldn’t ask you to sub just for the sake of subbing!)

books for when you want to feel like a beautiful 15th century milkmaid or an adventurous schoolgirl in the english countryside

(I honestly couldn’t think of a better way to categorize it) 

We Have Always Lived in The Castle by Shirley Jackson

Housekeeping by Marilynne Robinson

Girl with a Pearl Earring by Tracy Chevalier

The Princess Bride by William Goldman

Tess of the D’urbervilles by Thomas Hardy

Picnic at Hanging Rock by Joan Lindsay

A Curse Dark as Gold by Elizabeth C. Bunce

Thistle and Thyme by Sorche Nic Leodas

A Little Princess by Frances Hodgson Bernett

I Capture Castle by Dodie Smith

Jane Eyre by Charlotte Bronte

Little Women by Louisa May Alcott

Anne of Green Gables by L.M. Montgomery

The Scorpio Races by Maggie Stiefvater

Howls Moving Castle by Diana Wynne Jones

Alanna: The First Adventure by Tamora Pierce

LET’S GROOVE! an ode to unsettling dance scenes

Yuri: *Is busy doing the housework*

Victor: *Is lazing about on the couch like a slob*

Yuri: *Sees Victor and puts his duster down, sauntering over and getting atop him* Babe... *Takes his glasses off, flushes his hair back and smirks, licking his lips before leaning down, pecking Victor on the lips* You busy?

Victor: *Is immediately turned on* NO.

Yuri: Good. Do the fucking dishes.

Food is not here to entertain me. I have books, friends, nature, adventures and my own life to entertain me. 

Food is not here to sooth me when I am sad. I have journals, friends, pets, prayer, hot tea, music and showers for that. 

Food is not here to pick me up after a hard day. I have tomorrow, and the promise of a new day is enough for me. 

Food is not here to celebrate my great days. I will share my joy with others. I will celebrate and appreciate what I have. 

Food is not here to fill me to the brim. I do not need to feel full to be nourished. Food is here to satiate me. 

Food is nourishment. It’s job is to give me energy to get through the day. It’s job is to give me nutrients, help me get stronger, and fuel my brain. It is not a replacement for real life. It is not about pleasing my brain, it is about pleasing my body. True change starts at the very foundation. Change your relationship.

Street markets in Japan to romantic dinners in Russia :’) 

SessKag - TO READ - fanfiction MASTER POST pt 2

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