#- and in the context of their relationship

[beif0ngs]

alright look, i just wanna know who is the writer that came up with the dumbass idea of replacing the line “Ever since I lost my son, I think of you as my own” with “Lu Ten would have been proud to have you as his father” in this scene for the Netflix live action series???

[arnaerr]

Rellana, Twin Moon Knight & Rennala, Queen of the Full Moon

prints ✦ full process on patreon

[mr-payjay]

More drawinfs <3 the usual art dump

[shepscapades]

Ranchers as Grant Wood’s American Gothic was supposed to be sillay and goofy but then I set the ranch on fire and one thing led to another and now it’s. sad DFBJDFGB I’m really happy with how this came out though, so!! Here’s my week 3 piece for the Hermitcraft Design Challenge thingie :]

[bunnieswithknives]

Dev this is serious stop beatboxing.

[mamawasatesttube]

what WERE tim and kon doing in that closet together that made kon have to get dressed afterwards anyway? wrong answers only. i'll start i think they were playing two person strip poker but tim cheated like a motherfucker. actually wait that doesn't make this sound any less gay. um. hold on. there's gotta be something. um

[theminecraftbee]

Grian had taken her aside quietly. He'd awkwardly talked around the idea of her remembering now; apparently, he didn't know if her victory counted. She'd rubbed the back of her head and hadn't quite realized what he was talking about and said something about the games and, ah. Apparently she does remember now. Apparently the victory counts. Apparently this means he needs to say sorry.

Cleo considers not accepting the apology. Grian would get the wrong idea then. If she said: you don't need to apologize for shit, or maybe, there's nothing to apologize for, he'd take that as: you are exactly as bad as you're convinced you are. Honestly, Cleo's not sure whether that means Grian would decide he'd done nothing wrong or everything, but that's besides the point.

She'd never not remembered, is the point.

Frankly, Cleo hadn't realized people were meant to be not remembering. She's honestly a bit embarrassed not to have figured it out. Surely that can't be right. Cleo has held every single slight and every single ally and every single person she has ever connected to right in her ribcage, next to where her carved-out, unbeating, torn-up heart lies, the entire time these games have gone on. Each game, a new fact carved into the bone that makes them up.

Names ribbon around her memories. Bdubs and the Crastle and Scott and soulmates and Pearl and friend-turned-foe and Etho and survivor and Bigb and traitor and Scar and son and everything else. She wouldn't be the same at all if she didn't remember. Everything she is, it's built on top of everyone that was.

Maybe it's a zombie thing. The undead are said to be memories that can't fade as much as anything else, after all.

But she can't really explain this to Grian, of course. If nothing else, that would require explaining the place he's taken next to her heart, too, and frankly, that's way too mushy for the both of them. What ends up coming out her mouth is: "Oh. Does that really change anything?"

Grian stares at her a moment.

"You know, I guess not?" he says.

"Right then," Cleo says. "Cool. Good to know my victory means nothing then."

Grian squawks. "You can't just say it like that! That's depressing!"

Good enough.

She buries 'not-supposed-to-remember' 'not-sure-if-it-counts' 'laughing-as-scott-dies' and 'I-have-always remembered' in the same place in her ribcage, so she won't forget it, and then she does the thing that sets her apart from the common zombie:

She moves on.

[sandflakedraws]

some contextless flickory & one hickory drawing that my partner said looked like he was posing for a perfume ad

[hellspawn-enjoyer]

Will always adore this line between them if you don't fix Karlach's engine. It shows such and important growth in their relationship even though they still can't touch. Plus it's cute how much Astarion wants to be closer to his fiery girlfriend of his own choosing without them having ever touched.

But also damn Astarion you are NOT helping, my poor girl is frustrated enough😭

[infizero-draws]

doodle to celebrate the big news

[thewistlingbadger]

Now what we're NOT about to do is bring down roxanne just raise to maxley. We're not doing it! Bc y'all LOVE to do it in every fuckin fandom and I'm not taking it this time!

[abortionado]

three cheers for ambiguous bisexuality

[carnivalcarriondiscarded]

man. the deep Affection and Tenderness in your heart when you look at your best friend - am i right fellas

[romance-evil-aro]

when will the aro community stop enforcing the false dichotomy of loveless/romance repulsed aros vs romance favourable aros? there is nuance. there is grey area. justice for the aros whose relationship with romance is more complicated than that

[sunnibits]

potentially hot take but this is a pet peeve of mine

[emilinqa]

star trek tos is deeply entrenched in its identity as a 60s tv show for better or for worse (both) but i think retroactively the city on the edge of forever ends up showcasing this more now since its set in a time we can now as 21st century viewers connect with being closer to the time it was produced, rather than the nebulous 23rd. it's interesting because for me i think the single episode informs the way i connect an imagined future to the actual real 1960s the show was written in, particularly in the language and the way relationships between characters are depicted in the way they speak to one another. in that single episode it suddenly feels that the coded language everyone uses, the subtext, the hints and euphemisms is a necessity of the world rather than a feature of the show. and suddenly (for me, at least) that totally shapes the rest of the way i view the rest of the original series. though the way they speak to one another doesn't really tangibly change all that much, when they're placed in the setting of the 1930s the way that kirk and spock speak to each other and about one another entirely shifts.

edith asks kirk in regards to his relationship with spock "I still have a few questions I'd like to ask about you two. Oh, and don't give me that 'questions about little old us' look, you know as well as I do how out of place you two look here." which. well. hello. and later when she asks "Why does Spock call you captain? Were you in the war together?" and kirk says "we... served together" its like yes the obfuscation of their identities and who they are to one another is a necessity of the plot and time travel reasons but i also can't pretend that particular response doesn't color kirks line 2 episodes later in amok time "you've been called the best first officer in the fleet, that's an... enormous asset to me" in a different light. the necessity of secrets and closed doors and frantically having to conceal themselves and their tiny little apartment with a pair of twin beds and ediths "you, by his side as if you've always been there and always will" and "'Captain'? See, even when he doesn't say it, he does" well i can't act like it doesn't change the way i see their enforced professional distance in other episodes, even when they're back safe in their own century. its why The conversation cut from the original harlon ellison script hits seriously i think. it's like a deeply personal confession of desire for a life that could never be: "On my world the nights are very long. The sound of the silver bird against the sky is very sweet. My people know there is always time enough for everything. You would be comfortable there" and a wistful acceptance ("All the time in the world...") in another time in another life in another place it could be but just not this one. spock's endless resignation. well it just changes everything for me. star trek is about the 1960s!!!!!!