#I LOVE HER I DO I DO I PROMISE.

[chronicas]

Noah fence but I do get very 😬 when I see BotW Zelda. It’s so rough. Her design is so so so rough. I hate her giant eyes she’s like if a baikal seal was an anime girl. Which I know sounds like a neutral comment from know seal lover Sylvia, but she’s just so lame and weird looking. I love her deeply and I really like her characterization. But some of the most cringe fail character design I’ve ever seen.

[batcavescolony]

*Talia visiting Damian*

Talia: Damian, how are you? *glares at Dick*

Damian: I am doing well mother

Dick: *from behind him* *mouthing: why the fuck are you here?*

Talia: oh that's great! I see you have a new pet? *Mouthing back: to see MY son*

Damian: this is Haley, Grayson's dog, she's staying with me while he goes on a mission.

Dick: *flipping Talia off where Damian can't see* yep, he's so good with animals

Talia: I'm aware *throws a knife at him*

Dick: *throws it back*

[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.

[pineapple-frenzy]

Book 2 au doodles

It's just a bunch of random moments with Zuko looking grumpy for most of them,,, he can be happy for at least one drawing tho

[drenched-in-sunlight]

i love the DLC man

[poorly-drawn-mdzs]

Welcome (back) to the world!

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[swedenis-h]

Aaanywayss here’s a redraw of my favorite scene from Goncharov 1973

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[backpackingspace]

Okay so with the line "the olive tree where we first met" we have two equal hilarious options.

When penelope was sassily like oh I'll marry you if you make a living bed out of this tree right here! Cue penelope stumbling over odysseus very very carefully digging up the tree "because how else is he going to get it to itacha we can't have a wedding bed out in the open in sparta duh"

Or

2. Penelope, knowing that Helen's suitors would soon be arriving to take over her home for a while. Snuck out and went on her own wacky shenanigan filled journey where she scoped out all the major players. Odysseus caught her spying in an olive tree. And when she got back she told Helen she had dibs on the cutie from itacha.

[dykesevika]

BEAR SEVIKA BEAR SEVIKA BEAR SEVIKA BEAR SEVIKA BEAR SEVIKA BEAR SEVIKA. SEVIKA WITH BROWN BEAR EARS AND BROWN BEAR TAIL GRHRGRYRYRH

bears are one of my favorite animals :3

Men DNI

[o3o-lapd-o3o]

okay here's part 3! (still no dinner scene sorry, but we're slowly getting there!) (this is a long one heads up)

the post/thread that started this whole au

dinner scene: part 1 | part 2 | part 4 | part 5 | part 6 | part 7 | part 8

there's a masterlist now!

*back at the palace*

penelope: i wonder how it went…

penelope: *starts walking toward the entrance for the palace gardens*

penelope: *notices odysseus running through the gardens towards the very same entrance*

penelope: *was concerned until she could clearly see a joyful look on her husband’s face*

odysseus: *sees penelope and heads towards her*

penelope: *notices and opens her arms for an embrace*

odysseus: *grabs penelope by the waist and twirls her around in the air* good morning wife, did you miss me?

penelope: *holding onto odysseus’ shoulders laughing*

penelope: good morning husband *leans down to kiss odysseus*

penelope: *looks him in the eyes with a smile* more than you know.

odysseus: *smiles back with eyes full of adoration*

odysseus: *goes in for another kiss*

*a while later after many more morning kisses between the two*

*penelope & odysseus now walking arm in arm back into the palace*

penelope: so, i’m assuming by the look i saw on your face, your friend agreed to dinner?

odysseus: uh yeah, surprisingly he did. no forcing or threats needed.

penelope: *hums and holds a finger to her chin in slight thought*

odysseus: *wondering what she’s thinking of* penelope?

penelope: *giggles and looks at odysseus* maybe you’re already more friends than you thought?

odysseus: *blinks repeatedly and then shakes his head*

odysseus: my love, trust me… the god of the seas and i are not friends

odysseus: *looks down in thought* after everything that’s happened, i don’t think we could ever be

penelope: *stops walking and turns to odysseus who has also stopped walking*

penelope: *holds her hand to odysseus’ cheek* i thought you said after all these incidents on the sailing trips with our son, that you had put that behind you?

odysseus: *leans into her hand and reaches to hold it with his own*

odysseus: *sighs* i- i have. i admit that while it’s a lot of fun being able to mess with him… all that anger & resentment i held has left me.

penelope: *gives a small smile*  

penelope: how do you know that lord poseidon hasn’t too? maybe he’s learnt to forgive?

odysseus: *thinks back to the moment he held his hand out to poseidon while on his raft, asking him the same question*

odysseus: … *blinks the memory away*

odysseus: yeah… i don’t think so, i tried that once already…

odysseus: *grabs both penelope’s hands* anyway! that doesn’t matter-

odysseus: *lets go of her hands and once again links his arm with hers*  what matters is… what the cooks have planned for breakfast!

penelope: *letting the subject drop for now*

penelope: *smiles* i don’t know about breakfast… but i’m sure that after you and our son’s fishing trip, i would say fish is the plan again for lunch *laughs*

odysseus: *laughs with her* yes, we certainly brought enough back.

odysseus: though speaking of our son. just how excited do you think he’ll be when i tell him the good news?

penelope: oh, i am sure he’ll be delighted! why don’t you go wake him for breakfast and let him know?

penelope: *unlinks their arms, turns and gives odysseus another quick kiss* i shall see you soon my dear husband

odysseus: yes soon, my lovely wife *watches her go down the hall until she out of sight*

odysseus: *turns to head the way to his son’s bedroom*

*odysseus arrives at the door leading to telemachus’ room*

odysseus: *knocks on the door*

odysseus: telemachus? are you awake yet?

*after hearing no response & no noise to signal movement*

odysseus: *gently opens the door and heads inside*

odysseus: *looks across the room to the bed and sees his son still fast asleep*

odysseus: *makes his way over, while looking at the walls covered tapestries of monsters, -also seeing ones he himself has faced- all slightly starting to fray from the years they’ve been hanging there*

odysseus: *sees the newest tapestry above telemachus’ bed -one he knows that penelope and athena had weaved together- the tapestry of him, penelope & telemachus also including a owl sitting on telemachus’ shoulder*

odysseus: *smiles* *gently sits down on the edge of his son’s bed*

odysseus: *reaches his hand out to stroke telemachus’ hair, like he would do when he was just a baby*

odysseus: *in a soft voice* telemachus, son it’s time to wake up

telemachus: *makes a small groan at being woken up*

telemachus: *voice heavy with sleep* father?

odysseus: *pulls his hand back & chuckles to himself at his son’s sleepy confusion* yes, it’s me, did you sleep well?

telemachus: *now slightly more awake* yeah, i dreamt of the dolphins we saw a while ago-

telemachus: *sleepiness long gone and now slightly excited* -did you manage to speak to lord poseidon?!

odysseus: *smiling at his son’s excitement* i did indeed

telemachus: annnnnd?

odysseus: he will be at dinner tomorrow

telemachus: *leaps forward at his father and hugs him* yes! thank you for asking him!

odysseus: *hugs his son back* i promised i would didn’t i?

telemachus: *lets his father go and gets ready to get of bed* i need to start planning for tomorrow-

odysseus: *laughs and stops his son from running off* yes you can, but later. first you need to wash yourself up and get down to dining hall

telemachus: how come?

odysseus: it’s morning remember? the cooks have made us breakfast and your mother is waiting for us to join her

telemachus: oh yeah! that makes sense.

telemachus: *gets out of bed more calmly* okay well i’ll wash up quick and be there shortly

odysseus: okay i’ll see you there *watches his son leave*

odysseus: *to himself* i guess i’d better make my way there mysel-

*a small breeze hits him and then a soft hoot of an owl sounds out*

odysseus: *turns to see athena in owl form sitting on the perch by the balcony, that odysseus had made for telemachus’ room*

odysseus: *hands on hips* so how come when i was young, you had me up for training everyday before sunrise, yet my son gets to lay in?

athena: *turns back into her normal appearance* good morning to you too odysseus

odysseus: don’t change the subject ‘thena

athena: *shrugs* what can i say? times have changed

odysseus: *drops his arms and laughs*

odysseus: *looks back to the (family photo) tapestry* indeed they have

odysseus: *looks back to athena* so, breakfast?

athena: *smiles* let’s go.. my friend

odysseus: *smiles back and then heads out telemachus’ room with athena*

[hollytree33]

Finally got around to painting my Inquisitor, Shivana

[mulders-too-large-shirt]

thinking about how mulder loves to get scully a gift, usually terribly heartfelt, even if disguised as something flippant:

the superbowl vhs tape he brings her when she wakes up from her coma in one breath (and her deadpan "i knew there was a reason to live")

tickets for a football game to watch together in irresistible

bringing her flowers to the hospital in memento mori (he lies, saying he stole them from a guy with broken legs to make her laugh)

the birthday keychain in tempus fugit (and when she finds a meaning to it, he claims "i just thought it was a pretty cool keychain")

that is a man who is always thinking about her.

[ohitslen]

Millymeryl eheh :)

Just one more.

[akechi-if-he-slayed]

more p5 text posts but it’s kind of just shuake and akechi

[poorly-drawn-mdzs]

Don't Wormy About Me.

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