#HOW DID I FORGET THAT??

[goodoldfashionednerd]

Bonus TTS meme, because I completely forgot about Brand having a crush on the Tower

[solacebean]

North doodle page because I love drawing the little lad

[ink-asunder]

I forgot to download the twitch streams from when I fought grigori??

[prouvaireafterdark]

listen I know it's heartbreaking that Claudia dies and it's understandable to wish she didn't, but let's please not accuse the writers of fridging her. to do so is a fundamental misunderstanding of the story and is frankly insulting to the intelligence and skill of the writers of the show.

Claudia's death, and the overwhelming grief and regret her parents experience because of it, is quite literally the point of the entire story. she dies because Anne's daughter Michele died of leukemia when she was five years old and there was nothing she or her husband could do to prevent it.

writing IWTV was how Anne coped with the unimaginable loss of a parent losing her child. she created a story about a little girl that could not die and then killed her anyway. Claudia's death is a senseless, unavoidable tragedy, just like Michele's was. the grief that haunts Louis and Lestat for the rest of their lives is the same grief that haunted Anne and her husband.

so when you're accusing people of killing Claudia off to benefit a story about two men, please remember that in real life sometimes parents lose their children. please remember Michele Rice.

she's the reason Claudia exists.

she's also the reason Claudia cannot be saved.

[hamletthedane]

I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.

[ebonyheartnet]

-Recording begins-

Spider-Man: Hi folks! I’d like to give a PSA to my usual villains, and anyone else with ideas for the next two months.

Spider-Man: *holds up a brick sized lump of metal* See this? It’s titanium!

Spider-Man: *starts flattening it out and shaping it*

Spider-Man: See, we all know that I’m crazy strong, but I never wanna really hurt anybody right? Right. While that hasn’t changed, something very important does right around this time of year.

Spider-Man: *pulls off a glove and pulls a chunk into a long stem with his nails carving lines for added texture*

Spider-Man: See, this is what we like to call exam season. Anybody who knows anything about college can tell you that it drives people up the wall, and I already climb mine when I’m antsy.

Spider-Man: *starts winding the thin sheet around the stem, delicately crimping petals in place*

Spider-Man: I do wanna be clear that this isn’t a threat, okay? I’m still not interested in crossing the line, which brings me to my point.

Spider-Man: *throws the titanium rose at the brick wall behind him, stem first, and embeds it all the way through*

Spider-Man: /That/ was restrained because I could focus enough to have full control. If I’m extremely tired or otherwise distracted, there’s just as much risk of me slipping up as someone operating heavy machinery. I’m probably not going to remember what sleep is for two whole months, so remember!

Spider-Man: *pulls out a brick and snaps it like a cookie*

Peter fucking Parker: Don’t.

[sharkylass]

ALRIGHT, I ASKED FOREVER AGO, BUT WHO WANTS TO HEAR ABOUT MY ISA LOOPS AU??

Heads up this contains a lot, and I mean A LOT of spoilers for In Stars And Time. Including: = Act 6 spoilers, including main mystery and secret encounter = Minimal Act 5 stuff = And a bunch of extra stuff that happens through Act 3 and 4. SO BASICALLY ALMOST EVERYTHING, FINISH THIS GAME COMPLETELY BEFORE READING (ESPECIALLY THAT ACT 6 ENCOUNTER, IT WILL LITERALLY BE THE FIRST THING I MENTION UNDER THE CUT)

With all those warnings out of the way-

IN REPETITION AND CHANGE

Initial Concepts:

I feel it's important to show these sketches because they were the first ideas I ever had. I wasn't even entirely sure I wanted to make an AU at this point, I didn't even know how I'd approach it. But I started sketching and it's been on my mind since- SO! Isa is stuck in the timeloop. I know what his wish is and he DOES have a Loop equivalent! The grumpy dandelion guy is Roboro (it/they/he). Their name is a very small play on Ouroboros and they call Isa "Seedling". However, this post is not about them, as I'm gonna talk about it and Isa's dynamic in a separate post. In short, Isa is his normal loud self up until Act 3, right? They beat the King, they reach the end, and whoops, the loop isn't broken. So now, what happens is that Isa starts getting his brains out. He starts thinking more analytically and tries to problem solve.

The more stuck he gets in his head, the less he's able to perceive his friends as real people, and more like them holding him back. Because even if Isa explains that he's smart, that they shouldn't be surprised if he says something, shock of all shocks, reasonable- They'll forget it the next loop.

So Isa is stuck with trying to portray his confident, loud, supportive facade- Which is fine! It wouldn't be the first time! But it progressively gets more and more frustrating, as he tries to find answers and simply looses the energy to pretend to be stupid.

TL;DR: Isa in the timeloop, unlike Siffrin, becomes more distant and cold rather then something more akin to Sif's mania.

NOW, MORE ART!!!

KILL KILL KILL:

I imagine Isa didn't have this encounter the same way that Sif did. Yeah, frankly, Isa is pissed with the sadness- But that's not why he goes through with this.

In this moment, Isa is trying to kill two birds with one stone. He's trying to get through this quickly, as well as reassure Mira that they can do this! If he shows how strong he is, then she'll feel safe right???

Poor Isabeau forgot that whenever he shows that he thinks ahead, he scares people. How could he forget that? How could he forget that he's inherently---

Family Quest:

I still think Odile is the one to call out to him (same with sus quest).

The hangouts I'm still figuring out, cause I don't think they'd too similar to base game- But, fun fact, at the end of this run, everyone agrees to keep travel together!

Isabeau brings it up, can't hurt if you can fix your mistakes right? And everyone agrees. The relief on Siffrin is the most palpable thing Isabeau has ever seen.

In this moment they love you. In this moment they all love you. In this moment---

Death Screen:

He loops back anyways. (This is one of the initial concepts that I ended up animating. This line in particular is when he reaches the end)

Act 5 Tarot Card:

NOW TO SEE MORE OF HIS PASSIVE AGRESSIVE SIDE

Thanks to @the-bitter-ocean for prescribing tarot cards to Isa (THEY ALL FUCK SO HARD) and for the RAW ASS LINE

If interacted with in act 5, predictably, Isa tears it apart. He doesn't need the divine judgement upon him, he's faced everyone's perception his entire life.

However, he tears it methodically. Tears it once in even pieces, twice, three times, and one of the pieces once more. In a way he isn't even getting his emotions out, it's like he's actively trying to tear it apart so it stops nagging him, like he wants to shut it up. Though, the Judgement card symbolizes rebirth, absolution and inner calling. In Act 6 he'd be able to look at it and find comfort and confidence in the card.

Act 5 Mirror:

And lastly, I have the Act 5 mirror picture. I haven't quite figured out how to make the normal ones work yet, however, I couldn't let go of the idea that Isa would not want to be in the picture.

The idea of seeing himself at all makes his head hurt and his stomach squeeze. The memory haunts him as he stands to the side and says the word. He didn't think the mirror would catch him.

AAAAND THAT'S ALL THE ART STUFF FOR NOW!!

I still have quite a bit of it to post, especially about Roboro, but I'm gonna leave it here for now.

I still gotta figure out the hangouts and potentially the dagger equivalent- but I have ideas for Bad Touch, the glass equivalent, and some extra little things that didn't happen in Siffrin's loops.

I needed to yap about this, because I've been slowly stacking up ideas and writing and I needed to share it at some point- If anyone read all this and has questions and stuff I fully welcome 'em!!

[pineapple-frenzy]

Book 2 au: sparring sessions and short hair katara

They like to have sparring sessions in order to keep their bending skills sharp. They allow themselves to go all out and not hold back at all cause they know if anyone got hurt, Katara could just heal them

But anyways, wouldn't it be kinda funny if Zuko accidentally burned Katara's hair tho? Aofkqldkkajfjd

The "I think we can save the hairloops" line is from @linnoya-writes thank you for that!! :>>

[wraithwen]

matching with your twin? at your big age?

[umblrspectrum]

part 4 of a lot funnier in my head than on paper

[egophiliac]

do skully have pokemon?

Pumpkaboo is the obvious one, but y'know, sometimes the obvious one is the right one! (we'll say SUPER SIZE Pumpkaboo, just for fun. big pumpkin for big skeleton boy.) and another person actually also suggested Greavard, which I somehow hadn't considered, but feels so perfect that I feel like I should have. dangit.

(they can also have little Nightmare Suit costumes :D)

[silver-wildfyre]

Wow so history really does just run on a 100-year cycle huh. We humans are doomed to make the same mistakes for the rest of time

[delhe-dalim]

Koh-to-yah, little 'Soka! :D

[aslitheryprinx]

[otiksimr]

RAYQUAZA, The Serpentine ruler of the Sky.

Rayquaza's have the ability to shift their scales to match the sky around them, practically making themselves invisible whilst airborne, which makes them notoriously difficult to spot let alone study.

Even during the nesting season where they'll be the lowest to the ground in their entire lives, as in high up in mountain peaks. It is known among Pokémon Professors that to dedicate one's life to studying Rayquaza means to dedicate one's life to eternal waiting and disappointment. One has better chances spotting a Mew in their lifetime than a Rayquaza.

[juricore]

toxic yuri this toxic yuri that. and just when you think it couldnt get any crazier they break out the spinning piano