#I don’t have the energy for anything

[haunted-planes]

The brainrot got him

[samglyph]

Careful there, Artie. Getting awfully close.

[randomalistic]

Cool awesome reminder that you don’t need amazing technical skill to be a good artist/storyteller

[gatoburr0]

All my attempts on drawing mr grizz

[urfavedumbcunt]

Putting her shirt on and having my brain go fuzzy bc it smells like her >>>>>>>>

[leciraofthewilderness]

So, despite some faults, I really enjoyed totk, and on its anniversary I want to say something about it. Other people have said similar things before but it’s really important to me and actually a big part of why the story of totk was meaningful to me, so I want to also say it:

Zelda needed to come back from draconification. The story needed that. It wasn’t lazy and just ignoring “consequences” because (imo) that was the *point*

The point is to feel like there are going to be terrible consequences and then say actually, no. You can come back from this, with the help of other people.

To me at least, that was the theme of the whole story.

If botw was about how the world goes on past loss and grief and starts to heal (how flowers grow in the ruins and the world can be beautiful again, be worth saving, even if it has changed)…then totk was about a more personal kind of healing.

The weight of the world should not be on your shoulders alone…you, alone, should not have to fix everything…you should not have to sacrifice yourself, but when you do, someone will be there to save you from it.

This turned into a really long ramble so:

You (Link) gained so much and now it’s gone. It feels like you’re back to where you started and yet you know you have to do it all again…you were weak and you failed and you’re weaker now…but

You go down to the surface. Monsters swarm across it once again. Other people are fighting them too though. You help, but it’s not just you…

You go to the Rito, the Gorons, the Zora, the Gerudo…just like with the divine beasts, there are friends who help you save each region. But this time, part of them comes along with you when you leave. It’s nice, you realize, the first time one of them protects you from a monster you weren’t prepared for. You’re still weaker than you were before, but someone has your back…

When you go up to the sky you see a strange new dragon there. There’s something about them that feels familiar. You try not to think about it.

You go down to the depths too. It’s terrifying at first. You hate it. You only want to get what you came for and get out of the dark….but slowly, the light grows. You get stronger. The dark feels like a challenge you can face (and someone has your back).

There are spirits down there. You don’t know when they’re from, but some part of you wonders…are these all the people you let die in the Calamity? (You help them find rest from their wandering. The weight on your shoulders feels a little less heavy).

There’s so much gloom. The first few times the sky turns red and hands chase you (a reminder of what you’ve lost, how you failed) you just run. Eventually though, you have to fight. It feels like the (second) worst day of your life again. But you manage to get free of the grasping gloom and stand and fight, as wild and desperate as it is. Beneath the manifestation of your worst fears, there’s another thing to fight, but this time it has a face (a voice in the back of your head says…you know this isn’t all on you and your failure…it’s really Ganon’s fault right?). You get through it.

At every turn in your travels, it seems like something reminds you of Zelda. Her passion, her curiosity, her kindness. You miss her.

At first, the tears you find reassure you. She may be in the past, but she’s safe. She’ll come back somehow…but then you hear the word draconification for the first time. You want to believe she wouldn’t do it but you know her and the fear sits cold inside you. (Zelda is a lot of things. She’s been allowed to be more of them, since she was freed from her hundred year battle, without her father holding her back. But deep down inside her, there’s a vein of self-sacrifice that still runs strong. It’s what saved the world before, after all).

She did it. She really did it. She’s gone from you (from Hyrule) forever, and it’s all your fault. If only you hadn’t failed so utterly in the battle (you can hardly even call it that) under the castle. If only you’d caught her. If only you hadn’t let the sword break. You should have protected her you should have been better it’s all your fault and now she has to live with the consequences, forever. Everything really is on you, you should have been better.

(Zelda POV: you couldn’t call upon Hylia’s power in time, you were too content to let it wither and fade away from you, ready to be free of it. You shouldn’t have. He got hurt, the sword got hurt, it’s your fault…Sonia and Rauru help you channel it again, Sonia helps you learn how to turn back time…but you don’t save her. She dies because you couldn’t save her. Rauru dies not long after. There is no one left to guide you, once again. You could spend years trying to figure it out on your own. But you did that last time. It didn’t work. Self-sacrifice, stepping in front of someone you love, that worked. (You do what you can, to call upon the sages, to help Link in the future, first). And then you swallow the stone. You’ve come a long way, in the past five years, allowing yourself to exist. But in the end, self-sacrifice worked last time. It’ll work this time too.)

You (Link) go down beneath the castle. You were supposed to bring the sages but you didn’t. It’s nice, for someone to have your back. But no one else should get hurt to fix your mistakes.

They follow you anyway. They fight with you, against the hordes, against the greatest enemies you defeated together, along the way. They’ll have your back, even if you don’t think you deserve it.

You fight Ganondorf, and then the demon king, in the hardest battle of your life. You think it’s over and then the demon king decides it’s better to lose himself completely than let you win. You’re exhausted and afraid of yet another battle, but up there in the sky, when you’re falling, the Light Dragon catches you (you wonder why she changed her path to catch you, you wonder if there’s still something of Zelda left in there to save). With her help, you win.

And then you’re in some other realm. The spirits of Sonia and Rauru are there. You remember how the two of them and Zelda channeled such incredible power together. You think about Recall. Turning something back to the memory of what it was before, like Sonia said. You stand with them and you allow yourself to hope. Maybe the Light Dragon can remember the form she took so long ago, the person that she was.

And then you’re falling, and Zelda is falling, but this time you catch her. You catch her. She’s back home with you, finally, finally.

And maybe, one mistake doesn’t have to be the end of the world. You don’t have to be perfect. Sometimes, someone else can stand with you, and it’ll all turn out alright. (You can put the weight of the world on your shoulders, you can sacrifice yourself, but someone will be there to catch you, someone will be there to pull you back to yourself, when all is said and done).

[durchdenspiegel]

28.03.2024

A little over a month left to finish my BA thesis, so in reality, a few weeks to get a decent product to send to my friends to read over… I am determined to actually have a first draft at the end of the week (utopian) because I really want some space to breathe before the next semester sweeps me up again.

Roughly one third written - I‘m testing if „study with me“ videos help me stay productive long term to meet my goal 😮‍💨

[turtleblogatlast]

The fact that Leo can go literally anywhere on earth to be alone with his thoughts at a single moment’s notice is something that shakes around in my head all the time. Like, portals and teleportation are amazing and convenient abilities both in and out of battle, but they could also so easily be used to run away as well.

I don’t think Leo ever would, at least not most of the time. He loves his family too much, and is too dependent on their love and attention to cut himself off so suddenly like that, but it’s a very real possibility nonetheless.

It’s a good thing Leo’s overall temper is more on the mild side and he prefers going to his room or something to complete solitude, because it really is dangerous for a kid to have the ability to isolate themselves like that at their fingertips.

[skyshroom]

‘When you think about me, why do you always bring up the ball?’ Fabian is not beating the gay allegations this episode unfortunately

[itzjustfritz]

posted this to twt and i thought it’d be cute to post here !! happy pride month !!! 💞 more art to come !! (edgeworth and his old man wrinkles 💞💞/aff)

[crow-art-zone]

mew meow + crunchy pixelated variant + non edited version that you were never meant to see. Pls click for quality as tumblr destroys everything lol

[gaydexvocaloid]

HAPPY BIRTHDAY ZOLA PROJECT!!! i’ve been so busy and too sick to draw anything more but i love them just as much as every other year i’ve drawn for them <3333 i love you three so much ❤️❤️❤️

[sukisukidaysook]

Kay: HEY Seb!

Sebastian: My name is Eustace :/

Kay: What

Eustace:

[larapaulussen]

[shokupanko]

It’s not Monday but it’s certainly Mayu Monday for me! This is my only artwork for March so I’ll see you all again in April or soon after! （⌒▽⌒ゞ

Pantyhose: I actually went back then forth trying to decide between bare legs and pantyhose but I ultimately decided pantyhose was the way to go. The pantyhose are meant to match the corset except no leather and comfort of course. It has lace details and a leather belt on her left leg. The lace stops around her ankles.

Hair: to stay within steampunk territory, I decided to make her hair fluffy, swirly, and lots of curl heart shapes. I don’t like to use one range of colors so I made the choice to go with my heart and make it extra colorful! (Although Mayu’s hair always proves to be a challenge (∩︵∩)

Makeup: I tried to make her extra girly- sorta 40s makeup vibe. So red lipstick and pink blush. I also tried to make her details more rounded to give a softer appearance :D

Shoes: it was my try of Mary Jane’s inspired shoes so please remember they are NOT accurate. She has small legs warmers over the shoes and tied off with pink bows, a short heel, and golden beads to go around the rim.

Gloves: blacks gloves with the tips of her thumb, middle, and ring fingers revealed, and well as leather and golden beads to go around and lace at the bottoms.

Dress: sheesh I’ll try to explain as well and possible… the dress comes with a color, ruffles, folds, and lots of lace for the underskirt. She has two belts below the sleeves to emphasize the ruffles. The dress also comes with a front tying corset that I took extra care to seem functional. The corset comes with lace, leather, and POCKETS! Because every girly in a dress needs pockets (she was originally gonna have a gun in her beta design shhh). The pockets are attached to the leather part of the corset in the back, and is also joined with golden beads? Buttons? Idk those things. She also has three rows of the golden beads on her skirt!

Hat: Her top hat is decorated in clocks, chains, and gears for a some steampunk effect, as well as a pink bow and pink bunny ears. Around the hat is black lace and under the hat is pink lace for some pop!

[liliaceaae]

back to our regularly scheduled rhea brainrot!

some explanations under the cut ^^

top 5 saddest rhea moments 😹🙀

1. Eating her devil fruit

One night, Rhea finally had enough of being forgotten and ignored by her family and ran away to the forest, planning to never come back. She thought that if she was “gone for good,” it would make them realize their mistake.

Over the course of a week, she sustained herself off of the diverse plant life, and learned survival skills by following the patterns of a family of wildcats.

However, only while watching the mother cat gently care for her cubs did Rhea realize that no one had come looking for her. She had purposefully stayed near the edges of the forest, hoping that maybe someone would find her. There among only the trees, she cried until her chest hurt; unheard, unseen, & forgotten.

She spends one more night out in the woods, running low on accessible food sources in the forest shallows. She spots a new fruit that she’s never seen before, and in a moment of naivety, cuts a piece and pops it into her mouth. So shocked from the bitterness, she instinctively swallows the fruit. Effectively traumatized, she leaves the rest of the fruit for the animals and heads home.

There was no one to greet her when she arrived home, no greeting in the following days, no greeting from even the townspeople. No one had noticed she had even left, and somehow, she felt more unheard than before.

2. Learning to be selfish

The Whitebeards notice the way Rhea doesn’t ask for things the way kids normally would. Over the smallest requests, she would avert her eyes and bow her head. When shown the barest act of patience or compassion, her eyes would gloss over a little bit.

Marco, being the one she trusts the most, decided to address this. Through various conversations, Marco attempts to piece together the life Rhea lived before setting sail. She would talk about God and punishment, the sea and vengeance, earning and losing love through action. While much of her worries were padded in metaphor, wether from fear of admission or simply the phrases she was fed, Marco could gather that her sense of self worth was too damaged for a girl of 10 years old.

On a day where Rhea was feeling particularly vulnerable, she finally tells Marco about her family. How she was forgotten in place of the new “first son” of the household; how she made herself small so that, maybe, she’d be good enough of a daughter to be remembered. She laughs emptily about it, claiming she understands the pressures of having a second child.

“Well, It’s their first life after all,” She gives her parents too much grace for Marco to accept. “But isn’t it yours too?” That short sentence is enough for Rhea’s world to break.

She’s overwhelmed with all the things she wants but never asks for. “Tell us what you want, and you’ll have it. You can be selfish, you’re a pirate!” Marco encourages. “I want to have my hair brushed,” she starts at a whisper. Her voice grows louder as she states her greedy desires. “I want to be hugged,” “I want to be noticed,” “I want to be loved!”

She’s sobbing into the fabric of her too-big sleeves by the end, and Marco holds her close in comfort.

3. Father

Her struggle to feel worthy is a difficult unlearning process. No matter the words of support that her brothers gave her, it didn’t make the feeling of weakness go away. When you’re surrounded by men as strong as monsters, it’s difficult to not compare your own abilities.

Her feelings of inferiority are especially supported when she needs to be comforted from whispers of battle on the wind. Too many times has Rhea watched images of her brothers’ blood from the backs of her own eyes. Her observation haki forces her to listen to their panicked heartbeats from where she tucks herself away in the smallest corner of the ship.

“She’s just soft,” she overhears Thatch say, after another dizzying afternoon of trying to press the remnants of wounds not her own out of her head. “I know, and that’s why I’m worried.” Marco responds quietly.

She tries to swallow her pain, make herself tougher in order to earn her place in the crew. She fails relatively quickly, lashing out due to the suppression of her hurt.

Whitebeard confronts her when she’s sulking while walking along the railing late at night. He calls her over to his throne, reprimanding her for her dangerous habit. She’s quiet when crawling into his lap, and still while wrapped into his cape.

“Rhea, did you know, I wanted to say yes. The very moment you first asked to fly under my flag.” Rhea was confused, Pops was rarely this sentimental unless he was drunk. “Why didn’t you?” she asks. “On these seas, there’s no guarantees. I could tell you were a child who deserved a long and happy life, there was no guaranteeing that if I had immediately said yes.”

“I don’t understand…” her confusion and hurt grows, “You don’t have to. What matters is now; and now, I see I made the right choice. I want you here, and I’m glad that you’re my daughter.”

The words from Pops felt concrete, they held the truth that Rhea was seeking. It extinguished her tangled feelings of jealousy and insecurity; The words she needed from a father.

“Even if I’m useless?” “You don’t need to prove your value to be loved! Who do you think I am, Big Mom!?” Whitebeard jokes, and Rhea laughs easy.

4. & 5.? Permanence

Rhea holds onto familiarity with desperation. She refuses to let go of things that are long gone, deluding herself that somehow she’ll get it back.

She had blissfully ignored death, convincing herself that her family was untouchable by those things. Ignoring the signs of age and wear on her crewmates. When Thatch dies, and the Paramount war happens, and she can no longer cling onto childish fantasies.

Rhea’s birthday is shortly after the Grudge war. Her brothers ask her over the snail what she wants, promising they’ll get her anything to cheer her up from their bleak loss streak. All she wants is to go home.

She misses the rock of the waves when she sleeps; The old doors that she needed to close with a little more force; The faces of her family and the easy conversations. Now, her heart twists at the thought of the Moby Dick. The ship sits in pieces under its enemy’s water.

She feels nothing but sickness when she turns 21. The thought that she had out-aged Ace haunted her all day. She couldn’t stand it.