#Gardens of Trust

[wickedzeevyln]

Charred

Some people warm themselves at the expense of watching the whole world burn. Like a desolate winter night where the air is gelid it tears the skin and gnaws through the spirit’s bone, and one skitters through cracks craving for fire in a catacomb dearth of warmth. You dream of subtle heat to peel off the cold on your body. Though fire burns and blisters, in dark hours, one has to wed the…

[etherealyearning]

Anglesey Abbey - National Trust

[oliversgarden]

Maltober day 4!! Hospitals and Helping hand (:

How yall feel about a Frankensteinian human John who puts himself together (with the help of Arthur of course) piece by insufferable piece??

[puppetmaster13u]

Prompt 218

“Moom, there’s yellow-eyed creeps fighting ninjas outside the window again!” 

Danny sighed, taking a deep breath- in for ten, out for eight- as he set the pot he was cleaning back in the sink. Dan- currently six- came running in from the living room of the apartment, where he was watching TV. Or he should have been if not for the bullshit outside. 

He sighed again, picking up baby Ellie- currently closer to two- out of her highchair (even if she could just float out) and let his oldest drag him to the window. Sure enough, another fight was happening, with no vigilante in sight stopping it. Look, he knew most people didn’t live here, but it was still rude. 

“Jordan, remember how I told you how violence isn’t always the answer?” Danny asked sweetly, Dan’s expression shifting to a wicked grin as he opened the window. “Feel free to practice tossing some fireballs while I clean up your sister, yeah?” 

Ah, the sweet sound of surprised cursing and startled ecto-signatures. Maybe they’d be polite enough to take their spar elsewhere. 

[otaku553]

More doodles for the one piece spy x family crossover

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[livesunique]

Tyntesfield, Wraxall, Bristol, North Somerset, United Kingdom,

Bob Fowler Photography

[astraeajackson]

*during the tyrant's tomb*

meg, standing over a semi-conscious apollo with a medicinal cheese grater in one hand and a very hungry expression on her face:

apollo: why do I feel like a FUCKING PLATE of PASTA at OLIVE GARDEN-

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[crazy-ache]

Modern Elucien would be the hottest, most stylish couple at every social scene. But they would also be the couple that unironically wears matching Crocs.

[tim-dennis]

Dahlia

[etherealyearning]

Autumn at Stourhead

[some-zer0]

Hey remember when Sasha spent almost the entire Dover arc sopping wet, holding Zolf's trident, and making not-so-subtly violent threats towards Barnes?

[the-dragon-girl-27]

Lu Li La Lu Li La to watashi wa utau no

[hunter-rodrigez]

Microsoft is putting its foot down when it comes to unauthorized controller use. The company has begun banning any third-party Xbox controllers and accessories that aren't part of the "designed for Xbox" hardware partner program.

Source

Wow, what a great move, microsoft... I bet all the disabled people out there who rely on custom-made third-party controllers will just looooove this change...

Or the fighting game community who like to custom build their own fighting pads...

Or the hardcore racing game players who build custom steering wheel setups and whatnot...

Or just the people who can't afford to dish out $70 for an "official" controller.

Or pretty much anyone who doesn't use one of your controllers for whatever reason...

Well anyway, in conclusion:

Go fuck yourself, Microsoft

[morphean42]

You know when you think about it the line “What is this, wash and wear” is actually deeply metaphorical and represents the core duality of Whizzer and Marvin. Marvin clings to an easy, stereotypical world. He craves the American dream and nuclear family, his clothes reflect that. He doesn’t want to stick out, so he dresses in “wash and wear”, he is just another perfect family man. Whizzer is the antithesis of him, he despises what drab clothes represent. He chooses to stick out, to be stylish, to reject society and its boxes. He craves individuality, and is not afraid to be himself. In a way, his clothes are also a crutch, a way to hide. Whizzer hides his insecurity behind flashy clothes and an almost too open persona— he hides by presenting a version of himself he isn’t ashamed of— and Marvin hides in plain sight by making himself blend in.

Also, the tone in which Whizzer speaks the line is important. Functionally, they use their clothes in the same way, but Whizzer seeks to belittle Marvin for his tactics of hiding. Whizzer thinks he is above Marvin in this way by allowing himself to be “free”, even if his version of freedom isn’t quite true. He thinks Marvin clinging to the idea of a tight knit family is pathetic. He makes fun of Marvin’s clothes as a roundabout way of telling him to embrace himself, but this is where his own character flaws come into play. Whizzer is mean, he chooses to pick on Marvin’s insecurity, he mocks the clothes his boyfriend wears fully knowing it’s how they both hide from the world.

Here’s the video that inspired this if anyone’s interested