#I'm so normal about these two (Lying)

[please-let-this-work-oh-my-god]

Hey... remember that post I made about Kakania's siezen in chapter 6? As I rewatched and transcribed Kakania's speech in 6-24, I noticed that Kakania had switched to using du midway through her monologue and that's just... such a neat detail to me.

Kakania was no longer speaking under any guise or formality or professionalism, she's speaking to Isolde as the friend she thought they always were, as her true self, just as Isolde had been doing with her so long before this. But now that du no longer carries that same tone of comfort and safety, it carries weight, anger, and the despair of a person who has seemingly lost a friend that they have cared for for so long, someone they thought they had known but has now been estranged before their very eyes.

Also, for anyone who needs it, the full speech scene in German is below the cut

Isolde: Du hast alles gut gepackt (?).

Kakania: Ja. Der Spiegel macht mir Angst, nachdem was passiert ist. Er spiegelt wahrheitsgetrau mein hässliches Gesicht wider, meine abstoßende Seele.

Isolde: Doktor, du bist nicht abstoßend. Wie kann jemand, der abstoßend ist, so edle und hohe Ideale haben wie du?

Kakania: Hmph, vielleicht… vielleicht haben Sie recht. Es ist Zeit, das Tuch zu lüften.

Isolde: Das Licht tut weh, hast du die Vorhänge geöffnet? Doktor, ich kann nicht sehen.

Kakania: Schauen Sie sich dieses Gemälde an, Isolde. Erinnert es Sie etwas?

Isolde: Ich kann es nicht deutlich sehen, Doktor. Es ist zu hell hier. Könntest du die Vorhänge zuziehen?

Kakania: Das ist das Gemälde Ihres verstorbenen Bruders, Die Rettung. Wir haben eine einfache Tatsache übersehen, Isolde, bis Heinrichs letzte Wörter uns alle daran erinnern. Theophil schrie seine Notizen in Verzweiflung, nannte aber sein letztes Gemälde "Die Rettung".

Isolde: Doktor, es ist zu hell hier. Können wir woanders reden?

Kakania: Wie konnte ich das übersehen, Isolde? Eine noble Damen wie Sie kann nicht nur singen und tanzen, sondern auch zeichnen. Theophil war ein feiner Herr, aber nur fein. Er war talentiert, aber nicht begabt. Die Frauen der Dittarsdorfs waren schon immer bessere Medien als ihre Männer. Sie sind viel begabter als Ihr Bruder. Sollen wir euch dankbar sein? Du und dein Bruder, ein Paar Messiasse dieser Ära. Eine von euch schrie die Wahrheit in einem bemitleidenswerten Gedicht heraus und hielt seine Verzweiflung in Kunst fest und die andere…

Isolde: Doktor…

Kakania: Und die andere wollte "die Farben von oben abkratzen, ihre wahren Farben enthüllen und sie neu formen". Das bist du, Isolde. Du hast versucht, die Verzweiflung abzukratzen und die Welt mit deinen mitfühlenden, mitleidigen Händen neu zu formen. Er schuf die Kunst, und du hast sie vervollständigt. Du und dein Bruder sind die Mitgestalter dieses Gemäldes aus Mitleid für diese Welt. Und deshalb war es das einzige Werk, das den Brand überstanden hat. Hab' ich Recht, Isolde?! Sag es mir!

Mit Heinrichs Hilfe habt ihr beiden den Anführer von Manus Vindictae getroffen, ihr habt das Wunder gesehen, euch wurde der Weg zur Rettung gezeigt. Aber der arme Theophil konnte nicht akzeptieren, was ihm gesagt wurde. Wie du, wurde er von seinem noblen, edlen Blut verflucht. Er hatte Mitleid für die Welt, hielt er aber noch an den Privilegien des Adels fest (?). Er wollte nicht mit dem Manus Vindictae arbeiten, aber er wollte auch keinen Krieg. Er hatte seine inneren Kämpfe. Als Begünstigter der Rettung war die Schreiben von Verzweiflung sein einziger Ausweg. Er musste sein Leben nehmen, um den Schmerz zu beenden. Und er wollte, dass du dich ihm anschließt, damit ihr beide gemeinsam von der Qual befreit werdet. Aber er übersah die Tatsache, dass du, im Gegensatz zu ihm, bereits in Verzweiflung lebtest. Alles, was ihm wichtig war, hatte dir nie gehört. Die Zerstörung dieser Welt bedeutete dir nichts.

Isolde: Mein Kopf tut wirklich weh.

Kakania: Also du hast ihm aus Mitleid den Abzug gedrückt.

Isolde: Ich kann nichts sehen. Könntest du bitte das Licht im Raum dimmen?

Kakania: Betrachte dieses Gemälde! Schau dir diese Spiegel an, Isolde! Was hat ihr der Anführer von Manus Vindictae gezeigt? Was ist "der Weg zur Rettung"? Ist er ein Zauber, ein Ritual?! Du bist die einzige, die es weißt!

[bonesbuckleup]

Me and my gremlin OCs got into a writing workshop with Fonda Lee 😭

[xenonsdoodles]

[b4kuch1n]

fuck it sk8 sketches from da sketchbook. get sk8ed idiot

[heart-wit-strength]

Hear me out—

Luck runs out is a Marcy song

Keep your friends close is an Anne song

Ruthlessness is a Sasha song

[wisterialust]

Honey, you're familiar like my mirror years ago Idealism sits in prison, chivalry fell on its sword Innocence died screaming, honey, ask me I should know I slithered here from Eden just to sit outside your door

— Hozier, From Eden

[ask-artsy-oncie]

I was reminded of the time that tumblr tried to make "monster high but with tumblr sexymen", and one of the characters was (obviously) the daughter of the once-ler.

And the funny thing to me about that is that in the canon of the illumination lorax movie, the once-ler is heavily implied to have an estranged daughter. I don't know all the sexymen off the top of my head but I think he might've been one of the only ones referenced in that trend who actually had a daughter in his own canon.

[wayfinderships]

Good morning gamers!! Hope you're all doing well! As for me, I'm thinking about this bastard again-

[mothknight42]

TELL US MORE ABT THE BYJN TRAGEDY POST PLEASE

ASK AND YE SHALL RECEIVE ! ! !

I really like the "This story is a tragedy because it didn't have to end this way." vs "This story is a tragedy because it was always going to end this way." because I think is encapsulates Bayonetta and Jeanne as people in this series so fucking well.

Putting this rant below the cut, because it is long and includes spoilers for Bayonetta Origins. Yippie! Let's go.

Bayonetta spends most of the series actively defying fate and seeking her own path. She fights her way through every obstacle in order to save herself and the people she loves. When Jeanne is dragged to Inferno, the fate that awaits ALL witches when they die, Bayonetta says "Actually, no. Not yet." Now with the context of Bayonetta Origins, this feels especially significant, because it is a huge deal that little Cereza watches Morgana get dragged to Inferno without flinching. And yet, despite knowing how the world works, Bayonetta refuses to admit defeat and fights to the bitter end.....which means when she *does* fail, she blames herself. The tragedy for her is her own weakness. In Bayonetta 2 we see her tell Loki that Jeanne shouldn't have thrown her life away for someone like Bayonetta. Jeanne's death weighs on her, not just because it is a tragedy to lose someone you love, but because Bayonetta is convinced that it didn't have to go that way and sheis to blame (and thus does everything in her power to fix it). We see this again throughout Bayonetta 3 - while a lot of her characterization is ummmm not stellar in my opinion (lol), you can still see how this impacts her. The moment where she is confronted with having to kill Egyptian!Jeanne stands out, because she doesn't want to. There HAS to be another way! These worlds all keep ending in death, but it shouldn't be like that, there HAS to be something she can do, so she hesitates (only for another version of her to kill Jeanne, because she can't She can't accept that fate.) In France, Singularity takes over French!Bayo and then taunts our Bayonetta by asking "well what can you do for her now?" Essentially, "how will you defy fate this time?" And what does Bayonetta do? Fight and watch that version of herself die as well, helpless to stop it. Bayonetta carries the weight of every tragedy on her shoulders because she blames HERSELF for each failure. If she had been stronger, faster, better, it could have been avoided (or so she tells herself).

Jeanne, on the other hand knows that their story is a tragedy and accepts her role in it without flinching. In Bayonetta 1 she allows herself to almost be killed by the missile strike, and then again in space, because fighting the inevitable doesn't matter - as long as she does what she can to protect Cereza, she will have done enough before she dies. In Bayonetta 2 she easily sacrifices her life for Cereza, and then chastises her for coming to rescue her in Inferno - in part because it was horribly reckless, but also because Jeanne had accepted her fate, her death. We see this at its most extreme with Jeanne's Tale in Bayonetta Origins (which is one of my favorite things in the entire series oh my god I could talk about THAT alone for hours and what it tells us about Jeanne as a character). Singularity SHOWS Jeanne her death, her FATE, and says "if you walk away and abandon Cereza, you can save yourself." And Jeanne doesn't even flinch. She doesn't attempt to bargain. She boldly accepts her death, her fate. Sure, one day she will be killed. But she'll also save Cereza in the process, here and now, and maybe later too. It is a tragedy because Jeanne knows it is unavoidable. It will always end in her death. And that is okay.

The fact that Jeanne tells Cheshire NOT to tell Cereza about the vision they saw of Jeanne's own death highlights this divide between them perfectly. Jeanne accepts that they are in a tragedy, and is ready to play her part to protect Cereza in it, knowing she will die in the process. But she also knows that Cereza would NEVER accept that, and would do something reckless and foolish to try and defy that fate, to attempt to save Jeanne, no matter the risk.

In every version of this story, they don't make it. By their very nature as witches, they are doomed by the narrative, one day to be dragged to Inferno for all eternity.

But whereas in Bayonetta's eyes the tragedy is that it didn't have to be this way if only she were strong enough to forge a new path.....in Jeanne's eyes, the tragedy is it will always end this way, regardless of how hard Bayonetta fights for them both.

Bayonetta as a series plays with this idea of fate and destiny in really interesting ways, and looking at that through the lens of Bayonetta's and Jeanne's relationship is especially telling I think.

[straydogged]

a lot of my high school "friends" are getting married to each other and other people I knew and it's... making me really fucking bitter ngl. like, I'm engaged, I have been for years. it's not that. I guess it's more like bitterness that they're all still friends. I know I didn't make much effort to keep up with them after dropping out, but the truth is I don't think I was ever part of that group the way I thought I was. I remember them planning a party I wasn't invited to in front of me, pretty vividly. I remember that they never seemed to really care about my presence one way or another... I was on the fringes. always on the fringes, tolerated at best. I was too autistic to pick up on that at the time, I think. sure, I had classes with them and we shared a lot of extracurriculars. and a lot of us had gone to the same middle school. thinking back, I think most of them had gone to the same elementary school, too.

I don't know where I'm going with this. I guess I just feel lonely. untethered. when I'm gone, who will remember me? not my classmates. not the people I thought I was friends with. it's like my life before 19 just never happened. there's only one tie left from my childhood.

[remitro]

[purpleturtle9000]

"Entle Tello!"

They're up before they've fully processed the words, knowing only that Junebug is startled, and they're about to outperform Shredder if anything is bothering him.

Casey stands by one of the few doors to the lair, fingers curled around the doorjamb as he peers around the corner.

"What's wrong?"

Casey turns to them, then pauses, tilting his head.

"Why do you have so many guns out?"

"You never know when your dad might be around," they say, because they're not about to say out loud that their first instinct was to unload several nuclear arsenals on whatever problem might be upon him.

Casey rolls his eyes, like he always does when he hears about Tello's unending rivalry with the worst blue turtle.

"Come look at this," he says instead of commenting on it again, cementing his position as Tello's favourite nephew-creature.

They look around the corner like he did a moment ago. And they must be missing something, because all they see is-

Right. The rain all but stopped by the time Casey was old enough to remember. What little still fell was more like sludge than water.

"It's okay," they reassure him, weapons folding back into their shell. They hold a hand out, and he takes it without hesitation, though he lags a little once they're out of the door.

They wait for him to be ready. Both of his hands cling to theirs as he inches forward. He's brave about a lot of things, but there's some differences between this world, and the one he knew, that he's not always ready to face.

He gasps quietly when Tello steps out into the rain.

They raise a hand and smile when water pools in their palm. When it started raining, when they were young, they'd always rushed to get a few more fragile plants out of the way before any could be damaged by the deluge. Ever since, their instinct has always been to go out, but that was just another in the long line of things the Krang took from them. Now they can again.

Casey steps out beside them, his face immediately scrunching when rain gets in his eyes. Tello moves both their battle shell arms on that side to shield his face.

"This is normal?" he asks, looking doubtful.

"More normal than anything about our family," they tell him, and he grins and holds his hand out alongside theirs.

[running-in-the-dark]

I think tomorrow I'm gonna make a countdown of how many days are left until we'll move into our apartment

I feel like a whiny child except I'm not even missing my parents or anything like that, no I'm just missing my things and the environment I'm used to and being a able to walk around without being (quite this) anxious (I'm always anxious about that but it's much worse here)

(and it's really mostly my things. all my things in their place where they belong, the way it should be, everything right where I put it)

I just want to leave. I hate being here (at my husband's parents' house). I hate it. already had my first bad interaction with my mother-in-law today and. I can't handle it.

I don't tolerate being told what to do well (like. about things that are my own business. in this case it was about a health issue). I didn't even let my own mother do that when I was a literal child - but at least I could get mad at her. now with my mother-in-law? I just have to smile and nod and feel like I'm dying until she finally leaves.

[bravevolunteer]

@spring-lxcked asked: William's eyes turned on Michael, setting his jaw for a moment. No amount of resentment could stop his protectiveness, his desperation to keep his remaining two children from the ( haunted ) animatronics. "It's late. You shouldn't stay here after hours." Hell, William shouldn't have been there. He was no doubt in far more danger than his son. He glanced between his work, the curtained stage, and Michael. Then, finally, gathered his work into his arms carelessly and stated, "It's not safe. I'll drive you home. Now." He was already walking in the direction of the front doors. ( shitty father cares but in a very weird unexplained way / @spring-lxcked ) // william is strange and unusual pt ???

MICHAEL HARDLY EVEN KNOWS WHY he's here—does he need a reason? Or, rather, does his father need a reason to bring him here? Hardly anything he does has made sense recently anyway ( he doesn't care for what Michael is doing, yet monitors him constantly... he makes his resentment clear, yet stands in the way of anything potentially dangerous... it's confusing, and god damn frustrating. In a way, the slivers of care unpredictably given and ripped away hurt more than nothing at all ). He figures it's to keep him out of trouble— keeping bedroom doors open and locking windows has proven to fail, Michael can't run off if he's kept in sight. Maybe he knows just how much being in the restaurants unsettles him now ( the very thing he used to make fun of his brother for ), or at least he should, with the way Michael pointedly avoids looking at the stage at every turn. Even if it isn't the same one, he can't help but think about what he did every time he sees it. Or, it's just another strange facet of his parenting that Michael can't wrap his head around.

He's sat in a chair off to the side, knees pulled closer to his chest to prop up the notebook he's been sketching in for a while now— it's a good enough distraction, and his father doesn't stop him. That is, until his attitude shifts. It isn't anger or disappointment ( he has learned to identify those signs quick ), but... this sudden wariness, one that seems to come out of nowhere. Michael's brows furrow, expression scrunching into one of obvious confusion as he watches his father abruptly begin to move. Quick, careless with his work- he's never careless- overly insistent.

'Wh- now?" His reaction could almost be mistaken as wanting to stay, though it's far from that— still, he rushes to close his notebook and catch up, staring at his father ( from behind, unbeknownst to him ) with a sense of bewilderment. "Th'hell happened? What do you mean 'it's not safe?' I figured you brought me here so I wouldn't get into any shit," He mumbles the last part, covering his surprise with annoyance. Nearly questions who would even come here this late, but the sickening memory of what happened to Charlie shuts him up. "Just don't blame me if you forgot anything."

[mansplainmanipulatemalewife]

Injecting Trant Heidelstam directly into my brain

[bookwyrminspiration]

:0 may I ask if there’s a reason you only own one pair of pants? I have a pants addiction, so I must admit to being curious.

There's no one good reason but instead a combination of laziness and several small reasons that don't actually have to add up to my pantlessness, and yet do. Also to clarify: I do technically own more than one pair of pants, but there's only one pair actively in my wardrobe that I wear (the rest are ignored) and it's been the only one for like. Two years now. They're not even thick they're super thin

I live in a desert. It doesn't get that cold here, so I don't really need pants! It's the middle of winter and the coldest it gets is the low 20s ( -3 to -6 in celsius), and I'm not outside often! I stay warm with the rest of my clothes and minimal outside time

I am very small. Pants are very long. Even the smallest sizes. It's more of a hassle than it's worth to buy pants, at least for me. small

autism! i can be picky about the fit of clothes, and I prefer to have as little restriction and loose fabric as possible, otherwise I can't focus and can get overwhelmed. pants are very touch. they heavy touch a lot, and I prefer to have my skin uncovered--i love very short shorts and tanktops because they touch very little. pants aren't always bad but they are more often than not for me so. avoid

buying things is a lot of work i don't wanna look for pants that's such an investment :(

tights! love wearing funky tights :)

Listen I've got a system okay I've got it down. Either I can wear a long sleeve or I can wear pants, but if I wear both I'm on a time limit before I gotta do something about it, so I just don't wear pants! I wear shorts! and through sheer will and stubbornness the cold is no longer a problem

this is not the only conclusion to come to i just have no reason to change and it's been like this so long I think it's funny.