#I don't know how to express it fully

[pmpwbrrs]

GNNNNNNHHHH hkKKKKKH!!!!!!!!!

off string au - meeting ten silver roots

rivers and phrases meet somebody new in the wastes while making a perilous escape.

i have put these guys through some real situations everyone!!! you have no idea!!!! :D who is dune????? whar????????????

[gazkamurocho]

I recently got into the series (starting with Yakuza 0) and your art is feeding me every minute I’m away from my console not playing the game uwu

Omggg you don't know how happy I got by reading your comment ;;💕 Thank you so much!! Yakuza 0 is one of the best gaming experiences out there and I hope it hooks you to play the entire series! Enjoy every second of your journey because it's gonna be a blast ❤

[sysig]

Growing closer than expected (Patreon)

[buttercuparry]

And what about the other Joe? Whose body is being used as a mere prop in this story to distinguish the before from the after? We, the viewers, are being told the story of a stand in. We saw our Joe asking Ming, if he wasn't just a sex doll for him when his frustrations over Tong got too strong. We sympathized with our Joe, when he realized that now he has to perform the daunting task of playing the stand in for this woman's son. But what about what we are doing as viewers of the story? What about the Joe who never was in the story...we don't know him and I don't think we really want to know him. Only in hospital mirrors and in puddles do we get see that there was this whole other person. A whole other life. A son, an aspiring star, a human being. And then are we not shocked into realizing that how easy it is to dismiss a person when we are focused on watching the story unfold for those of whom we care for? I mean we don't really care about the Joe who never was because the story doesn't give us that space. We are getting povs through Joe's subconscious(?), so onscreen we are watching our Joe going through this new life. I wonder if this is an unintentional parallel to Ming's treatment of Joe. We have a body but we don't care for the personhood of that body. The personhood that's now lost because it is our Joe, whose soul is occupying the body. So Joe who never was is a meatsuit for the viewers...a stand in through whom the story plays out. In the story, we see the actors/characters playing out their part, and only in backstage ( through glimpses in puddles) do we see the stand in.

[johnslittlespoon]

man someone left a comment on one of my buckbucky fics today that said 'i can feel how much you love them through your writing' and i literally cried lol. why is that like. the sweetest/most fulfilling/validating thing you can say to a fic writer (who is way too deeply invested in his fandom of choice lmfao)? i've never gotten a comment worded like that before and it was so unexpected, i didn't realize how meaningful the sentiment would be to me wahhskdgjg <333

[daddy-long-legssss]

Suck It and See

"That is something that I started writing when we were recording those Submarine tracks. It just sort of came to me that melody and chorus, it’s quite Beach Boys-y which is something I’ve been listening to a lot recently, and always have. We decided to make it the title track quite near the end – once the pedals thing didn’t really come off. When we played it to someone earlier they were asking us about the fizzy drink reference in that where it says ��dandelion and burdock” – a lot of people don’t get that and don’t realise what it is. Something I like the idea of is putting colloquialisms where they feel strange – especially in some of the other tunes like the fuzzy, heavier ones, it feels quite funny when you can drop in something very British next to ‘Raw Power’ guitars."

[x]

[justarandomlambblog]

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 [END]

The love story of a mortal and an immortal is always doomed to end in tragedy, but even just a little more time would have meant everything...

And that's Narinder's prologue for this au sketched out. Also yes that's a cat he's just got small rounded ears instead of long sharp ears <3

Explanation of the story under the cut (this time with some dialogue!)

During a festival, someone runs up to Narinder saying a stranger has come to the village, and he's wounded. Narinder recognizes the cloak he wears as being that of a Darkwood cultist, so Narinder takes the injured cat to his home to take care of him, and also to confront him without anyone else there. Narinder finds that he's brought a book of the Old Faith with him.

The stranger wakes up and notices Narinder immediately. Narinder confronts him about the book he's brought with him, and the fact that he's a follower of the Old Faith. The cat explains that he actually ran away, seeing no point in killing and fighting and living and dying for a god who is already dead (awkward considering Leshy is very much alive again and loyal to the Lamb by this time, but neither of them know this), but that his old family outed him as a dissenter and he was chased/attacked on his way out. Narinder accepts this explanation but gives a stern warning to the newcomer;

"These are godless lands and we bow to no one. There will be no talk of the Old or New Faiths, no talks of gods, no preaching. And this book stays in this room so long as you're in this village, got it?"

Narinder drops the book into the side table, then tells the newcomer that he's welcome to stay as long as he wants/needs so long as he doesn't bring talk of gods into the village itself. The newcomer accepts this easily enough- he ran away from the Old Faith, after all, he only brought the book by happenstance.

Narinder gives the stranger clothes and shows him around the village, introducing him to people (and translating for both sides, as the newcomer does not speak the godless language and the godless don't speak the language of the Faithful). Time passes, and the newcomer stays even when he's healed, slotting himself into the daily routine of the village. Narinder begins slowly teaching him about their culture, once it becomes clear that he doesn't intend to leave; he shows him how to take care of the feral beasts, teaches him how to make paper lanterns for their lantern festival, teaches him their dances, and eventually even gives him an ear piercing, the same as anyone who comes of age inside or is accepted into the village from outside gets. It's essentially the moment that he becomes an accepted part of the village, an acknowledgement that he is one of them now; no longer an outsider, no longer a cultist but one of the godless.

One day, Narinder's friend (as by this time he cannot really be called a newcomer and ofc I don't have a name for him...) confesses to Narinder, and Narinder realizes all at once that if he wants to pursue this... thing he and his friend have going on, he needs to tell him the truth.

So Narinder does it in the most dramatic sad wet cat way he can; he brings out the book that's sat gathering dust inside the drawer for well over a year now and finds the entry on the Red Crown and the One Who Waits. The "Friend" is confused at first before looking at Narinder and realizing that Narinder is the One Who Waits- a fallen god of the Old Faith, and arguably the most powerful of all of the Old gods.

And... he doesn't care. Narinder is Narinder, not the Bishop of Death after all. He just tosses the book- something once sacred in the cult he was born into- aside and expresses that he doesn't care; it doesn't matter who Narinder used to be, or the crimes he committed in the past, because he loves the person Narinder is now. Narinder accepts his confession with this acceptance.

Time passes. They marry, with Narinder presenting a marriage charm to him, much to his delight. They start a family- first child they name Ari, the second Elloi, and the third Minuit, all a few years apart in age.

And for just a little bit- everything is perfect. Even though Narinder's immortality hangs over him like a shroud, he takes every day a moment at a time, and he's happier than he's been in a long, long time.

Then one night they're woken by the sound of crashing and screams. They're a little freaked out, because it's been so long for both of them but they recognize that sound- they've just both been on the other side of it. Opening the curtains confirms Narinder's fears; there's a raid happening on their village, the same way gods and their cults once crusaded against each other and razed entire settlements in a bid for power. Buildings are burning, people are running and screaming and crying, some people are dead, and robe-clad people very reminiscent of cultists and heretics bear weapons and chase people down, uncaring of whether they're old, young or children.

Narinder scoops up the baby- only a few months old and crying in fear- while his husband rushes to grab their older kits, only to find their beds empty. Panic sets in, and rather than running into the forest (to hide and hopefully avoid the attackers) like they initially planned, they rush into the village to look for their daughters. Narinder comes face to face with a cultist, and has a moment where he remembers Shamura teaching him offensive magic- before they even had the crowns, back when it was just them and the magic they were born with. Chains, which he hasn't seen or felt in nearly a hundred years at this point, shoot up at his command, spearing through and instantly killing his would-be attacker.

His husband, somewhere along the way, loses the dagger he'd always carried while fighting cultists. He spots their daughters on the ground, holding onto each other and crying in fear while a cultist raises a sword. Instinct kicks in and he rushes to them, throwing himself between his kits and their attacker- too afraid that attacking them would still end up with his kits hit by the sword.

Narinder hears his kits scream and turns in time to see his husband collapse, mortally wounded (he did take a sword for someone who was in front of him, that shit went DEEP), and in a moment of horror reaches out with his magic, spearing their attacker with the chain before they can turn their attention to the kits again. He runs over, dropping down by his husband's side, and pulls him into his lap. His husband manages to smile at him, saying some final words before dying in his family's arms.

Grief hits Narinder hard, and his magic lashes out; withering lines of decay snake through the village, the grass crumbling and the earth itself cracking in the wake of his magic. It targets the cultists while avoiding the villagers, and the cultists begin rotting and turning to dust right on the spot, whether they are bodies on the ground or living beings in the middle of swinging an axe. All at once the tables are turned, their attackers reduced to ash and blood on the ground and in the wind, and careful to avoid the lines, slowly the bravest of the villagers follow the decaying earth to its epicenter; Narinder and his once-again-broken family.

None of the villagers fear Narinder, even like this. All they feel is grief; grief for what has happened to their village, grief for their neighbors and loved ones, grief for the families that have been lost, grief for what the future holds for them. They share in his grief, but they realize something in that moment; Narinder can actually do something with his grief.

A few days pass and the dead have been buried. Narinder and his older kits pay respects to his husband's grave, and some villagers approach to give their condolences and also ask; "What now?"

He looks back, listening to their worries. With his third eye open and with him reaching out to them with his own magic, he notices for the first time that some of them have a certain... energy about them. Some have more than others; some's energy is lashing out, while others' are gentle, and some are... reaching back to him. He realizes that this energy is magic- the same thing Shamura saw in him and the others, thousands of years ago, when they decided to train them.

He remembers Shamura telling him something now, when he asked why they taught him and the others to fight and use magic when they clearly wanted to keep them all safe; "Sometimes the best way to protect those you love is teach them to protect themselves."

He takes this lesson to heart now; the village must learn to fight, so that they will never be made victims again.

"We rebuild. We learn to wield swords." He summons a flame into his hand, holding it out for the villagers who have turned to him in this time of hardship to see. "And those of you who are capable of magic- I will teach it to you.

"What has happened here will not happen again."

[numericalbridge]

Certain fans pretending that Darius being a rebel came out of nowhere is so funny, because while, yes, the show's writing is not the greatest, and it is understandable for a casual viewer to miss the Blimp scene or that later Darius doesn't restrain the kids, but some of the supposed fans who over-analyze everyone else, just so happen to miss the way Darius talks to Hunter from the Blimp and that if Darius was a 100% bad guy there would be no reason for him to clearly indicate that he thinks capturing the children wasn't something to be proud of - especially in that tone of voice and with that expression, and that there was no reason for him to lie this way if he wanted to manipulate Hunter, and that that scene was meant to be a clear hint that he had a moral code of his own and wasn't absolutely on Belos' side, all before the episode's ending.

(And it is also funny because he is in only two episodes before the rebel reveal, in one of them he is already established as a complex character, so there is just not even enough episodes of him being a villain to declare that the rebel stuff came out of nowhere)

And it is absolutely understandable to just dislike the show's writing choices (i think its writing is at best uneven, but often just weak), but with some fans it is very clear that they only have problems with Darius and only because of Hunter and the one-dimensional, worst possible fanon interpretations of Darius' actual actions. (< - and this is my actual problem, not that someone missed some hints or just have a different interpretation). Especially blatant when the same fans defend almost every other writing choice.

And of course it just happens that fans almost never have problems with Eda and King's writing, even though they are main characters, and some choices about their relationship are much more puzzling if you look at them with the same scrutiny fandom looks at Darius.

And among white Hunter fans there is almost never any care or thought about how Darius being a villain would fit with what characters like Belos and Odalia represent, and what it would mean and how it would have been handled considering the way the show already treats its characters of color, especially black characters, and how it would fit into the existence of the trope among fantasy shows of putting dark-skinned characters into oppressive roles. But there is no consideration or care about it.

[ink-and-dagger]

Hi Inky!

So, I was originally gonna comment this on ao3, but I realised it’d probably be easier to just write it in a tumblr ask. Anywho,

Galaxy here! I was the person that turned DWM into a physical book. If u don’t remember me, that’s all good! It was a while ago. I just wanted to say, after rereading DWM to celebrate the Arcane season 2 trailer, your writing is genuinely incredible. I have literally no other way to put it except saying it straight like that. And I’m not kidding when I say this fic changed parts of my life, and I just relived all of it again by rereading it. The way you word things, the metaphors, the symbolism (especially the horizon in Silco’s eyes aughhh it’s so perfect I’m sobbing-), it’s just perfection, and I can’t put it any other way. If I had the time to professionally analyse this fic, it would be pages and pages long. Anyway, I know this is super rambly (it’s about 1am where I live-), but seriously, thanks for doing what you’re doing, and writing what you’re writing. I can say that it’s not just my life you altered when you wrote DWM. I love it (and all your other works) with my whole heart. (And I may want rose tattoos now-)

- Galaxy <3

(Also, I saw that it was your birthday recently? Unless I’m mistaken - HAPPY (late) BIRTHDAY!!!!)

SNIFFLESNUFFELSNIFF 🥺😭😭🥺

Thank you so much my sweet Galaxy. Your words are so kind and I'm squirreling them away in my den so I can revisit and chomp on them whenever I need a pick-me-up. I'm always so pleasantly befuddled whenever people tell me that my writing has stuck with them over a long period of time - but regardless of whether my work deserves such an honour, it means the world nonetheless 💜💜💜💜💜💜💜💜💜💜💜💜

P.S Yes it was my birthday earlier this month, thank you!

P.P.S You should definitely get rose tattoos and when you do send me a picture cus I wanna see

[cel-aerion]

Aro ally Majima let's goooo.

[butts-bouncing-on-the-beltway]

I feel like the post I just reblogged pointing out the all-or-nothing in how many people interact with their deconstruction of systems of oppression is resonating for me right now with so many different moments in my life where someone decides that because some part of myself has access to some of the levers of control/influence/etc that come with the relationship to power, and decides what that must mean about all the other parts of me that might be explicitly refused access to those same levers.

It has happened in so many spaces/aspects of my life, and it can be so hard to feel safe and seen and trusting of others when that's my chronic relationship to being perceived - half truths and obfuscation.

It doesn't really change regardless of who's doing the assuming either. Like, where they land in relation to systems of power may influence which direction they lean in their assumptions about me, but even that is often inconsistent. Both sides of the equation (those who share my marginalizations and those who exist in spaces of closer proximity to power) will still do it nonetheless.

When I was doing my liminal social identities work in undergrad, this was actually a big part of the conceptualization we explored of traumtic alienation of self as individual from self as collective, and what it can do to people to exist in this liminal relationship with your environment and the people in it. As I'm starting to gather my thoughts about my stress modeling, this conceptualization is bubbling back to the surface. I'm finding myself meandering through it on both a path specifically my own, and in an effort to better understand what other paths may be available to people during their version of the process/experience.

Selfhood is so fragile, and so in need of balance between self-construction and co-construction for us humans, and that gives us so many beautiful, even spiritual, experiences of meaning making and generativity of self. It also createa many pivot points where we may find room in our path for vulnerability or blurring of self. As much as these pivot points can be distressing, I think they also sometimes become our foundations of change/personal evolution, when we find that through the distress of existing in shift, something meaningful is occurring or observable in our experience of self-in-transition.

I think something I've valued especially about my own relationship with self is its transience. It doesn't always end up somewhere I would be happy to sustain, but it always allows me a degree of comfort in complexity that I think has made my body-mind a safer place for me overall.

[erricdraven]

williamthebloodied → erricdraven

[top-pleng]

thinking about Pleng and her song that she wrote for wan again 🥺🥺

[bardengarde]

I think I read somewhere about McLean Stevenson originally auditioned for Hawkeye on MASH and I have to be so honest I've been very compelled by that idea since I first heard about it. Like.... I'd be so interested in seeing that vision and the show that would have come out from that.

Of course he'd be SO different from Alan Alda's Hawkeye and Alan is the definitive Hawkeye to me, but at the same time I'm so curious what MASH would have looked like if he were playing the protagonist

[shalom-iamcominghome]

Honestly, my stance on antisemites is that I wish for them what they wish for jews. If you are willing to give up your sense of humanity as a trade-in for the hatred and destruction of your fellow human, it seems like a fair price to pay. I've gotten caught up in, generally, finding any way to treat antisemites better than they treat us/jews as a whole, but... they are the ones who traded in a piece of humanity for a selfish, ulterior motive.

[agueforts]

sometimes i think when some of u talk about gorgug u forget zac isn't white