#<- or should i say a million times

[hikennosabo]

[egophiliac]

since Eng is getting 7.5 soon(?), I felt motivated to go back to my Meleanor rig and make her a couple of lesson animations! ...except for alchemy, because the cauldron bubbles proved too hard to photoshop around, whoops.

maybe she just got lost on her way to the classroom...?

(credit: backgrounds are from the game, I just put her on top of 'em)

(aside from the backgrounds, this is not an edit, I drew her from scratch! please do not tag or treat as an edit!)

[unriding]

me n moze say good morning to the world !!! ᕙ( •̀ ᗜ •́ )ᕗ

art by @rabbbitseason of course <3

[moeblob]

A lil guy !

[sidewalk-cracks]

literally please give Battison a Dick Grayson in the Batman Part II.

The first movie was about Bruce's journey from not wanting to be Bruce Wayne, to realizing that he does in fact need to be Bruce Wayne, and that Bruce Wayne can be a force used for good just like Batman. Logically then, the second movie should explore the next immediate question on the table: okay, he needs to be Bruce Wayne. So who is Bruce Wayne? What kind of man is Bruce Wayne going to be? Bruce still feels defined by his trauma of his parent's death. Bruce Wayne still feels defined by his parents' shadows, by his father's legacy. He still feels defined by his grief. How does he make Bruce Wayne be something different?

Dick Grayson would serve as the PERFECT device for Bruce to discover who he can be. Because Dick Grayson is literally just a young Bruce, and Bruce sees that instantly (it's why he takes him in in the first place). So throughout the movie, as Bruce tries to help Dick process his grief, he's inadvertently processing his OWN grief. Dick Grayson unknowingly helps Bruce process his own trauma, and through their developing relationship shows him that Bruce Wayne can be more than a recluse, a failure, a man drowning in his own head- he can be a protector, a friend, a parent.

When Dick points a gun at Tony Zucco's head, Bruce talks him down, and all the words that he gives him are words he had wanted when he was a kid and his grief was fresh. Even though they're gone, you're not alone. I understand.

BATTISON NEEDS DICK GRAYSON TO BE ABLE TO TAKE THE NEXT STEP OF HIS CHARACTER GROWTH.

[dollarstoreartsupplies]

forever thinking about johanna shooting fogg and what it says for both her and anthony as characters

because the whole show, from the very first scene, we've been set up to see anthony and sweeney as parallels of one another; anthony is sweeney back when he was benjamin, he's full of hope, he's in love (with a woman who looks almost identical to lucy), and then he gets that love brutally ripped away by judge turpin

in 'no place like london' sweeney says: "you are young, life has been kind to you-- you will learn" and by the point in the show where anthony is going to rescue johanna we're almost inclined to agree with him

except anthony cannot shoot the gun, he's not like sweeney in that he cannot kill another person even if it was to save someone he loved. anthony is never going to become sweeney todd.

and then we realize that we've been looking at the wrong person the whole show, and it's so obvious it's laughable: johanna shoots the gun.

johanna who has been raised to be silent and obedient and perfect, johanna who, without knowing the half of it, has had everything taken away from her by judge turpin, her mother, her father, and her freedom. johanna who we've been led to believe is the lucy to anthony's sweeney.

she is fully justified in shooting fogg, no one could fault her for it, but she doesn't even hesitate.

in that moment she is her father's daughter.

that isn't to say that I think johanna is going to go on a killing spree after the musical, obviously, but it's such a fascinating scene in terms of their development: because despite it all anthony is still the same, and because of it all johanna is not

anthony is the last bit of hope left in the story, and johanna is the last bit of sweeney

[fiendishartist2]

astro boy doodle dump

[saetoshis]

truthfully bro, a lot of writers wouldn’t write the stuff they do if their works weren’t at least a little self-coded. if a writer puts “chubby” or “black reader” or a specific gender in the tags it’s not your job to tell them they’re “wrong” for it - or that it’s not “canon”.

writers, just as much as readers, want representation and variation in the types of readers being written about. it would suck to never find a fic that makes you feel safe. so don’t hate on writers for putting specific aspects of readers in fics, just scroll and find something that suits you!

[wistfulwatcher]

#canon that the moment natalie feels like someone might leave her #she says the worst thing she can to them #so she can leave them first

bonus:

[hilacopter]

"as a jew"

*looks at blog*

"I passed by a synagogue once and my great great granddad's dog might have been jewish? so yea I'm like. the most jewish jew that ever jewed totally take whatever I say on jewish culture and history as gospel."

[unfortunatelyilikebnha]

Bnha makes me so mad because it could’ve been good. It had a lot of good aspects. But in the end none of them were satisfyingly resolved so it just feels bad.

[ithinkhesgaybutwesavedmufasa]

Captain 👏 Olivia 👏 Margaret 👏 Benson 👏 belongs 👏 with 👏 A 👏 D 👏 A 👏 Rafael 👏 Diaz 👏 Barba.👏

Full stop.

[icewindandboringhorror]

boy in silly sitting positions compilation

[aleksanderscult]

Confirmation that Leigh Bardugo has actually written chapters of S&B and S&S from the Darkling's POV

(and they're unreleased 🥲🔫)

And here a user asked her "How did the Darkling reacted when he realized that Alina left after the Winter fete?":

So his POVs show us how he reacted then. What he felt and (I bet) if he went to her room that night or not.

And this is confirmation that his POVs also hold important information about his feelings for Alina:

(ignore the user's comments about the Darkling and the "perfect" Mal)

Now. She has either forgotten about them (doubt it) or she knows that if the readers sees them they'll think "Wait. His POVs make sense. He's not crazy after all" (that's more likely).

Now we just need someone to hack her computer and get those scenes.🙂

[catastrxblues]

just ranted to my sister again about how genius the ending of tbosas is and the entire book in general. you know, the usual

[another-random-goose]

Officially, Joel’s grave was inside of Frog Tower. That’s where they’d held his funeral, and that’s where everybody who knew that he even had a grave knew it to be. Unofficially, however, there was another gravestone for Joel. Under the cover of night, Grian had gone back to Bread Bridge, cobblestone in hand, and climbed up the ladder above the submarine alone and in silence, lamenting the loss of his allies and podcast co-hosts. Eventually, he had reached the top of the ladder and stepped out onto the M-Rye-5, dirt crunching beneath his feet.

There was a little corner of the M-Rye-5 that was seldom visited. It wasn’t over anyone’s base. It wasn’t a good place to drop TNT on others. However, there was an incredible view of the whole server from there. You could see everything: Bread Bridge, the Ocean, the Clock Tower, T.I.E.S. Tower, Frog Tower. Best of all, you could see the stars. You were so high up that you could see the stars so clearly and quietly, above all of the chaos that littered the ground below. That’s where Grian built the grave. Jimmy got a grave in the bunker he had made for the frog he’d cared so much for. It only felt right that Joel got to have a grave on a Bread Bridge, even if it wasn’t the original. He fished Joel’s sunglasses out of one of his pockets and propped them up on top of the gravestone. He flicked his own sunglasses down from the top of his head and began to walk back towards Frog Tower.

“So long, Joel. Bad Boys for Life.”