#AND TELL ME HOW LOVELY IT IS

[whiteshipnightjar]

Zoozve, my beloved

[mroddmod]

they are like puppies. 2 me

[poorly-drawn-mdzs]

Hey now, Let her cook!

[andstuffsketches]

girl who lives in a cave

[beanghostprincess]

Laios saying he's stronger and better organized than Shuro because he eats 3 meals every day and sleeps properly is probably one of the most encouraging things a fictional character has ever said to me

[star-anise]

I really wonder if trauma theorists who say things like "Humans are the only animal that will be in a fright state when physically safe" or "the rest of the animal kingdom doesn't get PTSD" have ever, like

Do you think they've actually ever met an animal?

[hinamie]

self-indulgent sukuna sheet

[lotus-pear]

charm stat at debonair ‼️‼️

[kinsey3furry300]

An extremely dumb guid to “Which famous 60’s/70's Jazz man is that?”

1, Is it Piano lead or Brass lead? If piano go to question two. If brass question three.

2, Does the Pianist sound like he’s taken all the acid, or is there a guy making love to a clarinet?

Oh yeah: he’s taken all the acid alight. Is… is he okay? Thelonious Monk.

Oh yeah, some guy is going ham on a clarinet. Dave Burkbeck Quartet.

Neither of the above: Duke Ellington.

3, If brass lead: is it Louis Armstrong? If Yes, it’s Louis Armstrong. If no, question four.

4, Does the Trumpet player make you feel sad? Even, dare I say, Blue?

Almost? Chet Barker

Kind of? Miles Davies.

If no, question five.

5, Is the trumpet player trying to blow your face clean off? Like, actively trying to kill the first row of the audience? Dizzy Gillespie.

It’s brass led, but Sax not Trumpet.  

Okay, question 6, isolate the stings: is Charles Mingus doing what he’s actually paid to do in the back of the ensemble, or is he dicking around and seeing how far a man can take a double bass before his band-mates kill him?

Seems to be playing normally: Charlie Parker

He’s fucking around in F minor, and also that Bari sax is filthy! The Mingus Big band, with Ronnie Cuber on the Sax.

[puckpatties]

i love you forever and ever girldad chilchuck

[datcravat]

It seems there's a new lawyer in town!!!

[wroniec]

Tara&Gale

[demonio-fleurs]

To me, what is so fantastic about One Piece Fan Letter is the emphasis on the way the Straw Hats have created these connections in the lives of people they have never met. The ending scene, with all the hands putting together the puzzle pieces, and the way that all these connections came together in one dazzling way-- I loved that. I teared up at that. Wherever the Straw Hats go, they leave behind all of these puzzle pieces for people to put together and create bonds that would not have existed had the Straw Hats not shown up!

And it also just... Makes me so in love with the concept of the world after Luffy becomes King of The Pirates. I know that Oda has the final chapter planned in his head, and I doubt we will really see the long lasting effects of Luffy achieving the title of Pirate King + his dream, and I really do not want a sequel series ala Boruto or Yasahime, but.... I want to see a world in which children believe they can become a Brave Warrior of the Sea thanks to Usopp, I want to see more children look at Nami and realize they don't NEED to have a Devil Fruit or Haki or muscles to have adventures. I want to see the next generation of the One Piece world believe so strongly in their dreams, that they set out to accomplish them.

One Piece Fan Letter really opened the door, I think, for more and more stories about the "regular" people in the world of One Piece, the people you don't see in the arcs because they're the nondescript background characters, and how the Straw Hat Crew has changed them. And I want that. To me, that is fantastic.

[t-lostinworlds]

ZAYNE: I'll admit there's something undeniably addictive about stepping out of line.

LOVE AND DEEPSPACE — Nightly Rendezvous

↳ XAVIER | SYLUS | ZAYNE | RAFAYEL

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[aquanutart]

THEY'RE BACK!!!! my childhood manga!!!