Alternatively SorrowsFlower. / The things I do for the love of Lena Luthor and Katie McGrath. / My AO3 / Supercorp owns my ass now / Not a spoiler-free blog
Rado/Radomil AKA Radomillia: a cinnamon roll; childhood friends with Merisalia — she was bullied as a child by her family and peers, and Salia was the only one who defended her and made her feel seen. When Salia becomes a living goddess to the Faithful then goes missing, Rado hires Miras, an expert hunter and tracker, to look for her.
Salia AKA Merisalia AKA The Goddess: a tough one to crack; childhood friends with Rado — she earned Rado’s loyalty by being her defender as a child. Also the first person to call her Radomil. Became a living goddess according to the tradition of f the Faithful (then later “the mother of life”), and was prohibited from contact with Rado, because she was isolated from commoners. She was never able to tell Rado about her developing feelings because the Goddess is not permitted to love or be known by anyone other than her counterpart, the Father of Life. She also discovered how hypocritical and corrupt their religion is when she became the Goddess at thirteen, and this is part of the reason why she went missing when she got pregnant. She wants to tell Rado about all the lies, but Rado is a devout believer and is brainwashed like the rest of them. Disillusioned and a little bitter, this dramatic bitch's theme song is You Must Love Me (out of context of Evita the musical, mostly bc of the lyrics).
Miras AKA Esmiras: one of the Heretics, which is what they call people who grow up outside of the religion. Abandoned by her mother, she was raised by her father for the first five years of her life, until he died from one of the raids instigated by the Faithful to either convert or wipe out the Heretics. Then she grew up mostly by herself, moving place to place, with some help from the well-meaning Heretic communities she encounters. Because of her nomadic lifestyle, no one knows the land more than Miras does, which is why Rado hires her to help find Salia. A tough cookie. Insists she doesn’t care, actually cares the most. Loads of mommy issues (which Salia exploits then, uh, helps with the more they get to know each other). Just wants to be loved.
BONUS (if you’ve made it this far): spicy little snippet below the cut.
RADO
I lift the tent flap to check on Salia and the baby, but the sight inside stops me in my tracks.
Even in the dim light, pale skin glows as if haloed by fire. One sleeve has slipped down over a [pale] shoulder, and shadows from the lantern play on elegant curves, molding themselves to rounded flesh. My mouth waters like a slavering beast, and I swallow my shameful hunger.
The infant’s head is nestled on Salia's breast, shielding her from my inappropriate line of sight. He is asleep now, and I force myself to turn away, my duty done.
But Salia's low murmur keeps me rooted to my spot. “Wait.”
Reflexively, I look back at her as she puts the baby down on the small, makeshift cradle. My mouth drops as Salia straightens and turns toward me, letting her dress fall open further. I want to look away, but my own eyes are out of my command: instead, they trace the soft, heavy rounded weight of Salia's breast and enviously rove over the slightly reddened skin of a pink nipple from where the child had supped.
I wet my lips instinctively, jealously wanting to soothe the inflamed skin, to lap at the beads of moisture pooling beneath, and the jewel hues of Salia's eyes disappear, swallowed by the gold of her pupils.
A lone finger swipes at the moisture on her breast and I feel as if I am in a trance as I watch Salia hold out her hand to me. Her finger is stained with her milk.
“He is asleep, and I am still full with milk. Will you suckle from me?”
My breath stops and I am frozen in place. It is as if something has [exploded] within me. The only movement I feel is the pounding between my legs.
“Radomil?” Salia whispers, her voice low and thick, an echo of her voice in my darkest fantasies.
My feet are first to move of their own accord, unable to deny her anything. Then my hand, the traitor, accepts her offered finger and brings it to my mouth. I close my eyes and taste the sweet flavor of her.
And just like that, the battle is over. Nothing in the world has made more sense than this.
I surge forward, letting go of Salia's hand in favor of cupping her breast. I obey her and myself, and let my lips close over the pink nipple, drinking as deeply as I can.
“Yes!” Salia breathes above me, a gasp I have longed my whole life to hear. Her fingers thread into my hair, pulling me closer. “Yes, drink, my love. It is for you.”
I obey dutifully, sucking and laving with my tongue, mapping out the flesh that I have longed my whole life to touch and taste. I can hear Salia's moans, can feel her chest rising to meet my mouth, can feel her hands fisting in my hair and pulling. It sends me into a near delirium.
My hand finds her other breast weeping enviously and I soothe it with one palm, making Salia moan louder. Her milk stains my hand, and my mouth leaves her breast long enough to lick the liquid off my palm.
Our eyes meet over my hand, and I see the naked hunger glowing in Salia's eyes. In one smooth motion, she rips my hand from my mouth and surges up to replace it with her lips and tongue.
Vaguely, as our tongues tangle together, I realize that this is our first kiss. The thing I have wanted since I was a child, watching my best and only friend grow into her power and become a goddess.
I grip her tightly, wanting to savor the moment, but then I hear the baby stir beside us. I pull away unwillingly, turning slightly toward the cradle. Salia shakes her head. “He won't wake.”
The sounds from the cradle stop, and Salia is satisfied, but a stirring of guilt makes me turn toward the flap of the tent, in the direction of Miras's bed, and I stop, hesitating.
“Please…” Salia breathes beneath me, her hips writhing under mine. Still turned toward the tent flap, my last remaining scrap of thought shaped like Miras, I drop my forehead onto Salia’s. My breath is shallow and my clit throbs between my legs. Salia takes advantage. “Please, Radomil… please, I want you inside me. Where you belong.”
Her words force the breath from my lungs, and I forget all else. Salia’s glowing eyes burn into mine as she takes my hand and leads it to the cleft between her legs. Her wet heat bathes my fingers as I draw a line from her clit to her entrance. I hear her moan my name, and I exhale shakily.
She’s right, and we both know it. This is where I belong — where I have always belonged, because I have always been hers.
But as our eyes meet and I enter her, it dawns on me that perhaps the reverse is also true.
This is where I belong, because she is mine.
MIRAS
I can hear them in the stillness of the night.
The sound of their breathing so close it feels as if I am in the tent with them. My legs shift restlessly under the blanket even as I try to keep them closed. A low throaty moan that cannot be anyone but Merisalia as I hear fabric shift, and I grit my teeth. Despite my envy, my dislike for the woman, the sound sends a bolt of arousal straight to my core and I flip over to my side to keep my legs from spreading.
Then finally, her.
“Salia…”
This voice is unlike any I've heard from Radomil before. Raw and yet velvet at the same time, like leather rasping across my skin, it makes my spine tingle and my cunt clench. Rado has never spoken to me like this. This is for Merisalia alone.
I turn my head into the cloak I'd been using as a pillow, as if it could hide the envy that must be plain on my face. I pretend, as I always do nowadays, that my heart isn't caught in this woman’s vice grip.
Across the camp, I can hear the groans coming from Rado's lips, and I pretend I'm not imagining her groaning into my own skin. My cunt is wet and aching and empty. I hear Merisalia cry out, loud and wild. I can almost see that perfect face contorted in pleasure, and I can't bear it anymore.
I flip over onto my stomach, and my hand finds its way between my legs, trying to soothe the building ache there. I lift my hips to give my fingers access, and if I don't think about it, it could almost be Rado aligning my hips to hers. The thought has my fingers dancing on my clit before I can even push it away. Thankfully, the cloak swallows my own moans.
The sounds from the other tent become louder and more heated. I can hear Rado's whispers, too low for me to understand the words, but the quiet, firm command in her voice is enough to break anyone’s willpower. I slip my fingers inside myself and pretend.
That my fingers are not my own.
That the low murmur from the other tent is for me.
That my hips are grinding on a strong thigh rather than my own arm.
That I was the one desired, chosen. That I was the one who had known Rado before she was Radomil, when she was still a young Radomillia — surrounded by family, but lonely and alone, like me.
That I was the one who held Rado’s devotion all these years. Such deep and powerful devotion that she would cross oceans to find me.
I hear Rado’s voice break over a whine, and I shudder. Merisalia’s rising moans spur me on, my fingers burying themselves deep within me. And when she comes, Rado’s name a cry of pleasure wrung from her lips, I come with her and echo the same scream into my cloak so neither of them can hear.
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Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back.
The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act.
For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body.
The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser.
Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology.
Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.
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Every time I see some gamerbro edit of a female video game character to make her 'prettier', I always see something I have mentally dubbed Cockroach Wife Syndrome (in honor of the guy who accidentally conditioned himself to only be aroused by a fantasy of his cockroach wife Ogtha).
That is to say, there is a certain subset of gamerbro who interacts so rarely with real women, that his primary touchstone for how women look is fiction: often video games and anime. So when a video game woman looks too realistic--too close to having traits that one might find in real flesh and blood women--this is foreign to them. This is unattractive. They have been jacking it to hentai and blender animation porn for too many years, and have inadvertently conditioned themselves to only be sexually aroused by the exaggerated cartoonish traits of animated women.
So now every time I see one such edit, I can't help but think. My. What a coincidence you've made her look more like an anime waifu. Truly dedicated to your cockroach wife.
You can’t just breeze over something like “the guy who accidentally conditioned himself to only be aroused by a fantasy of his cockroach wife Ogtha” without at least linking a 20 minute video breakdown of this man’s descent into madness.
Oh is Ogtha not common knowledge? Eight years ago this was posted on reddit:
Two years ago, we got this update on the life of this roachfucker:
TLDR it's a guy who became obsessed with human-sized roaches with human intelligence after reading Kafka in high school, an obsession which eventually came to monopolize his romantic interests (and has sporadically had catastrophic impacts on his life ever since).
Hi, these bees are babies! They’re not clumsy at all, this is what is called orientation flights. After birth and before beginning their careers as foragers (as all Honey bees cycle through all the jobs in the Hive throughout their lifespan), Honey bees take short flights back and forth, to and from the Hive, to orient themselves with their wings and their home so they can learn its location and how to get back home after foraging! Everyone has to learn, these are just smol little baby turkeys. Bees use the angle of the sun for location so adults have a better and more direct sense of location than any human
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming