he/they/it/ze | ace/aro | adult (18+)tumblr veteran | cringe and free Technoblade Never Dies 👑I DON'T ANSWER DMs. Sorry, I am extremely introverted.Multifandom - aka I reblog a bunch of stuff about whatever I want. Fandoms I'm in: MCYT (mainly Technoblade & Philza), CoD MW reboot, Ace Attorney, Irondad & Spiderson, Star Wars (mainly Kylux), MCR, Undertale/Deltarune, D&D, and more.If you don't like the things that I like, please keep those opinions to yourself. I am not here to argue with people. I'm just here to enjoy cool content :]pfp: NASA James Webb telescope
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my constant stream of thank yous and sorrys will save me from the ass beating i have coming for the crime of having needs
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If Lieutenant Simon 'Ghost' Riley gets paired with his Sergeant, John 'Soap' MacTavish, on a mission, you can be sure to hear some cheap military humor over comms. That’s just a fact, and Captain John Price ends up hearing more of it than he’d like. (The risks of being the Captain of Task Force 141, after all.)
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(If you'd like, support me with a REBLOG—it helps to stay in the Call of Duty circle!)
Ko-fi
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“I don’t know what my goals are, no. Thanks for asking.”
#OHHHHH LOOK ITS MY EXACTLY FEELINGS RIGHT NOW#thank you op for this very important comic#posts about me#mental health
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remember when roier killed cellbit in purgatory and everyone was like omgg no theyre gonna be so angsty omg i hope they dont fight or like divorce and then cellbit proceeded to fall even more in love with his husband and go “aah roier is soo strongg🥰” truly spiderbit was such a good example of two people who just loved each other so so much that nothing could shake that
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People will be like "you can be every gender at once, your gender can be a metaphor, gender binaries are fake, you can do whatever you want forever, and also you have to pick one (1) of the four acceptable sexualities approved of by the council"
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i want to say that every man i have ever slept with has at some point said something along the lines of “i don’t know what it is about you but the sex is incredible” but it’s literally because every time i’m in the sack i think really hard about 2016 kylux fic and try to mentally embody hux’s like fragile yet cunty space dictator turn of the century serve. and it works! i thought this was relevant to ur blog rn
Anon I want you to know that’s the funniest fucking thing I have ever heard, obsessed 😭❤️
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Reblog to give a trans woman a warm cup of soup
#I would proudly walk through the mountains to give a trans woman a cup of soup#by my honor as a trans man it is my sworn duty#trans pride
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Pre-orders for the Soap's Journal Zine are now open!!
Orders close 11:59pm on the 31st of December!
If you have any questions about it, check out our handy ordering document here.
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newbie fic authors, shooting themselves in the foot: This fic is bad haha I suck at writing lol I am being mean to myself in the hopes that you will be nice to me but actually am dissuading anyone from even clicking on my fic because all I have done to advertise it is tell you why you shouldn't read it
me: I am King Big Dick of Fanfic Mountain and I have arrived in your fandom with the Express Intention of writing my Very Favorite Fics, which I will generously allow you to read. You're welcome.
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true gender liberation will never happen until the queer community can see masculinity as something which can be a real expression of self and which is worth protecting and loving
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There are a lot of abuse and recovery stories out there in fandom. A lot of them are written by people who’ve never been in an abusive relationship. That’s fine, that certainly doesn’t mean you can't write it, especially when it’s present in canon. Unfortunately, it does mean that a lot of people get it wrong.
The usual abuse narrative you see in fandom is a story about absence. The lack of safety. The lack of freedom. The lack of love, or of hope, or of trust. They try to characterize the life of an abused kid, or an abused partner, based on what’s missing. They characterize recovery based on getting things back: finding safety, discovering freedom, and slowly regaining the ability to trust–other people, the security of the world, themselves.
That doesn’t work. That is not how it works.
Lives cannot be characterized by negative space. This is a statement about writing. It’s also a statement about life.
You can’t write about somebody by describing what isn’t there. Or you can, but you’ll get a strange, inverted, abstracted picture of a life, with none of the right detail. A silhouette. The gaps are real but they're not the point.
If you’re writing a story, you need to make it about the things that are there. Don’t try to tell me about the absence of safety. Safety is relative. There are moments of more or less safety all throughout your character’s day. Absolute safety doesn’t exist in anyone’s life, abusive situation or not.
If you are trying to tell me a story about not feeling safe, then the question you need to be thinking about is, when safety is gone, what grows in the space it left behind?
Don’t try to tell me a story about a life characterized by the lack of safety. Tell me a story about a life defined by the presence of fear.
What's there in somebody’s life when their safety, their freedom, their hope and trust are all gone? It’s not just gaps waiting to be filled when everything comes out right in the end. It’s not just a void.
The absence of safety is the presence of fear. The absence of freedom is the presence of rules, the constant litany of must do this and don’t do that and a very very complicated kind of math beneath every single decision. The lack of love feels like self-loathing. The lack of trust translates as learning skills and strategies and skepticism, how to get what you need because you can’t be sure it’ll be there otherwise.
You don’t draw the lack of hope by telling me how your character rarely dares to dream about having better. You draw it by telling me all the ways your character is up to their neck in what it takes to survive this life, this now, by telling me all the plans they do have and never once in any of them mentioning the idea of getting out.
This is of major importance when it comes to aftermath stories, too. Your character isn’t a hollow shell to be filled with trust and affection and security. Your character is full. They are brimming over with coping mechanisms and certainties about the world. They are packed with strategies and quickfire risk-reward assessments, and depending on the person it may look more calculated or more instinctual, but it’s there. It’s always there. You’re not filling holes or teaching your teenage/adult character basic facts of life like they’re a child. You’re taking a human being out of one culture and trying to immerse them in another. People who are abused make choices. In a world where the ‘wrong’ choice means pain and injury, they make a damn career out of figuring out and trying to make the right choice, again and again and again. People who are abused have a framework for the world, they are not utterly baffled by everyone else, they make assumptions and fit observations together in a way that corresponds with the world they know.
They’re not little lost children. They’re not empty. They’re human beings trying to live in a way that’s as natural for them as life is for anybody, and if you’re going to write abuse/recovery, you need to know that in your bones.
Don’t tell me about gaps. Tell me about what’s there instead.
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when travis mcelroy said “what if you could just cut out the bullshit and do good recklessly?” and when marc evan jackson said “now go do something good” and when chidi anagonye said “i argue that we choose to be good because of our bonds with other people” and when brennan lee mulligan said “you, mortal beings, are the instrument by which the universe cares. if you choose to care, then the universe cares. and if you don’t, then it doesn’t”
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