#all of this stuff is true

[beachyserasims]

The Lonely House

On a cold autumns eve in a modern rented house, a small family sits down together after a Harvest meal, bellies full and hearts open to share. They traveled here from different places to meet one another, some from as far as the rocky mountains and beyond. But in the past, they all lived together in their quaint family home, in a small prairie town just outside of the city. They reminisce about times they spent there, each recounting their own isolated experiences. Throughout the conversation, a pattern is clearly seen, and they all begin to agree on one truly disturbing reality… That house was definitely haunted.

This series contains 3 very short stories, a bit of poetry, and graphic art related to The Lonely House.

This series is non-fictional and rated +18 for mature audiences only.

Click for trigger warnings and tags related to this series.

Enter here… if you dare.

[poorly-drawn-mdzs]

The Dungeon Meshi crew 'leap' into action!

[vaguely-concerned]

can't believe garak went from 'hope you have fun following my little breadcrumb trail of maybe-truths doctor it builds character ;)' at the beginning of the show to '*sigh* fuck it here's the whole loaf. the entire fucked up bakery of my soul. if you somehow still wanna have sex with me after this you know where I am, yours in infinite longing etc.' in a stitch in time. has anyone ever been so pathetically horrifically enduringly down bad as garak is for julian (laudatory)

[confessedlyfannish]

Writing Prompt #12

Bruce is reading the paper when the pour of Tim's coffee goes abruptly quiet. It would be hard to pinpoint why this is disturbing if it wasn't for the way the soft, tinny sound the vent system in the manor makes cuts out for the first time since being updated in the 90s. The pour, Bruce realizes, has not slowed to a trickle before stopping. It has simply stopped. And there is no overeager clack of a the mug against the marble counter or the uncouth first slurp (nor muttered apology at Alfred's scolding look) immediately following the end of the pour.

Bruce fights the instinct to use all of his senses to investigate, and instead keeps his eyes on the byline of the article detailing the latest set of microearthquakes to hit the midwest in the last week. Microearthquakes aren't an unusual occurrence and aren't noticeable by human standards, which is why this article is regulated to page seven, but from several hundred a day worldwide to several hundred a day solely in the East North Central States, seismologists are baffled.

Bruce had been considering sending Superman to investigate under the guise of a Daily Planet article requested by Bruce Wayne (Wayne Industries does have an offshoot factory in the area) when everything had stopped twenty seconds ago. That is what he assumes has happened (having not moved a muscle to confirm) in the amount of time he assumes has passed. His million dollar Rolex does not quite audibly tick but in the absolute silence it should be heard, which confirms the silence to be exactly that—absolute.

While Bruce can hold his breath with the best of the Olympian swimmers, he has never accounted for a need to remain without blinking without being able to move one's eyes. Rotating the eyeballs will maintain lubrication such that one could go without blinking for up to ten minutes. But staring at the byline fixedly, he estimates another twenty seconds before tears start to form.

These are the thoughts Bruce distracts himself with, because he doesn't dare consider how Tim and Alfred haven't made a (living) sound in the past forty-five seconds. About Damian, packing his bag upstairs for school after a morning walk with Titus that was "just pushing it, Master Damian".

There is a knife to his right, if memory serves (it does). In the next five seconds—

"Your wards and guardian are fine, Mr. Wayne," the deepest voice Bruce has ever heard intones. For a dizzying moment, it is hard to pinpoint the location of the voice, for it comes from everywhere—like the chiming of a clocktower whilst inside the tower, so overpowering he is cocooned in its volume.

But it is not spoken loudly, just calmly, and when he puts the paper down, folds it, and looks to his right, a blue man sits in Dick's chair.

He wears a three piece suit made entirely of hues of violet, tie included. He has a black brooch in the shape of a cogwheel pinned to his chest pocket, a simple chain clipped to his lapel. Black leather gloves delicately thumb Bruce's watch (no longer on his wrist, somewhere between second 45 and 46 it has stopped being on his wrist), admiring it.

"You'll forgive me," the man says with surety. "Clocks are rather my thing, and this is an impressive piece." He turns it over and reveals the 'M. Brando' roughly scratched into the silver back. He frowns.

"What a shame," he says, placing it face side up on the table.

"Most would consider that the watch's most valuable characteristic." Bruce says, voice steady, hands neatly folded before him. Two inches from the knife. To his left, there is an open doorway to the kitchen. If he turns his head, he might be able to get a glance of Tim or Alfred.

He doesn't look away from the man.

"It is the arrogance of man," the man says, raising red eyes (sclera and all) to Bruce, "to think they can make their mark on time."

"...Is that supposed to be considered so literally?" Bruce asks, with a light smile he does not mean.

The man smiles lightly back, eyes crinkling at the corners. He looks to be in his mid thirties, clean-shaven. His skin is a dull blue, his hair a shock of white, and a jagged scar runs through one eye and curving down the side of his cheek, an even darker, rawer shade of blue-purple.

The man turns the watch back over and taps at the engraving. "Let me ask you this," he says. "When we deface a work of art, does it become part of the art? Does it add to its intrinsic meaning?"

Bruce forces his shoulders to shrug. "It's arbitrary," he says. "A teenager inscribes his name on the wall of an Ancient Egyptian temple and his parents are forced to publicly apologize. But runic inscriptions are found on the Hagia Sophia that equate to an errant Viking guard having inscribed 'Halfdan was here' and we consider it an artifact of a time in which the Byzantine Empire had established an alliance with the Norse and converted vikings to Christianity."

"The vikings were as errant as the teenager," the man says, "in my experience." He leans back in his chair. "I suppose you could say the difference is time. When time passes, we start to think of things as artistic, or historical. We find the beauty in even the rubble, or at least we find necessity in the destruction..."

He offers Bruce the watch. After a moment, Bruce takes it.

"The problem, Mr. Wayne, is that time does not pass for me. I see it all as it was, as it is, as it ever will be, at all times. There is no refuge from the horror or comfort in that one day..." he closes his hand, the leather squeaking. And then his face smooths out, the brief severity gone. He regards Bruce calmly.

"You can look left, Mr. Wayne."

Bruce looks left. Framed by the doorway, Tim looks like a photograph caught in time. A stream of coffee escapes the spout of the stainless steel pot he prefers over the Breville in the name of expediency, frozen as it makes its way to the thermos proclaiming BITCH I MIGHTWING. Tim regards his task with a face of mindless concentration, mouth slack, lashes in dark relief against his pale skin as he looks down at the mug. Behind him, Bruce can see Alfred's hand outstretched towards the refrigerator handle, equally and terrifyingly still.

"My name is Clockwork," the man says. "I have other names, ones you undoubtedly know, but this one will be bestowed upon me from the mouth of a child I cherish, and so I favor it above all else. I am the Keeper of Time."

"What do you want from me?" Bruce asks, shedding Wayne for Batman in the time it takes to meet Clockwork's eyes. The man acknowledges the change with a greeting nod.

"In a few days time, you will send Superman to the Midwest to investigate the unusual seismic activity. By then, it will be too late, the activity will be gone. They will have already muzzled him."

"Him."

"There is a boy with the power to rule the realm I come from. Your government has been watching him. The day he turned 18, they took him from his family and hid him away. I want you to retrieve him. I want you to do it today."

"Why me?"

"His parents do not have the resources you do, both as Batman and Bruce Wayne. You will dismantle the organization that is keen on keeping him imprisoned, and you will offer him a scholarship to the local University. You and yours will keep him safe within Gotham until he is able to take his place as my King."

This is a lot of information to take in, even for Bruce. The idea that there could be a boy powerful enough to rule over this (god, his mind whispers) entity and that somehow, he has slipped under all of their radars is as frustrating as it is overwhelming. But although Clockwork has seemed willing to converse, he doesn't know how many more questions he will get.

"You have the power to stop time," he decides on, "why don't you rescue him? Would he not be better suited with you and your people?"

"Within every monarchy, there is a court," Clockwork. "Mine will be unhappy with the choice I have made," he looks at Bruce's watch, head cocked. "In different worlds, they call you the Dark Knight. This will be your chance to serve before a True King."

Bruce bristles. "I bow to no one."

"You'll all serve him, one day," Clockwork says, patiently. "He is the ruler of realms where all souls go, new and old. When you finally take refuge, he will be your sanctuary." He frowns. "But your government rejects the idea of gods. All they know is he is other. Not human. Not meta. A weapon."

"A weapon you want me to bring to my city."

"I believe you call one of your weapons 'Clark', do you not?" Clockwork asks idly. "But you misunderstand me. They seek to weaponize him. He is not restrained for your safety, but for their gain."

"And if I don't take him?" Bruce asks, because a) Clockwork has implied he will be at the very least impeded, at worst destroyed over this, and b) he never did quite learn not to poke the bear. "You won't be around if I decide he's better off with the government."

"You will," Clockwork says, with the same certainty he's wielded this entire conversation. "Not because he is a child, though he is, nor because you are good, though you are, nor even because it is better power be close at hand than afar.

"I have told you my court will be unhappy with me. In truth, there are others who also defend the King. Together we will destroy the access to our world not long after this conversation. The court will be unable to touch him, but neither will we as we face the repercussions for our actions. I am telling you this, because in a timeline where I do not, you think I will be there to protect him. And so when he is in danger, even subconsciously, you choose to save him last, or not at all. And that is the wrong choice.

"So cement it in your head, Bruce Wayne," the man says, "You will go to him because I tell you to. And you will keep him safe until he is ready to return to us. He will find no safety net in me. So you will make the right choice, no matter the cost."

"Or, when our worlds connect again, and they will," his voice now echoes in triplicate with the voices of the many, the young, the old, Tim, Bruce's mother, Barry Allen, Bruce's own voice, "I will not be the only one who comes for you."

"Now," he says, producing a Wayne Industries branded BIC pen. "I will tell you the location the boy is being kept, and then I would like my medallion back, please. In that order."

Bruce glances down and sees a golden talisman, attached to a black ribbon that is draped haphazardly around the neck of his bathrobe, so light (too light, he still should have—) he has not felt its weight until this moment.

Bruce flips the paper over, takes the pen, and jots down the coordinates the being rattles off over the face of a senator. By his calculation, they do correspond with a location in the midwest.

"You will find him on B6. Take a left down the hallway and he will be in the third room down, the one with a reinforced steel door. Take Mr. Kent and Mr. Grayson with you, and when you leave take the staircase at the end of the hallway, not the elevator."

The man gets up, dusts off his impeccably clean pants, and offers him a hand to shake.

"We will not meet again for some time, Mr. Wayne."

Bruce looks at the creature, stands, and shakes his hand. It feels like nothing. The Keeper of Time sighs, although nothing has been said.

"Ask your question, Mr. Wayne."

"I have more than one."

"You do," Clockwork says. "But I have heard them all, and so they are one. Please ask, or I will not be inclined to answer it."

"What does this boy mean for the future, that you are willing to sacrifice yourself for him?"

There is a pause.

"So that is the one," Clockwork says, after a time. "Yes. I see. I should resolve this, I suppose."

"Resolve what?"

"It is not his future I mean to protect," the man says. "It is his present."

"You want to keep him safe now..." Bruce says, but he's not sure what the being is trying to say.

"I am not inclined," Clockwork repeats, stops. His expression turns solemn, red eyes widening. In their reflection, Bruce can see something. A rush of movement too quick to make heads or tails of, like playing fast forward on a videotape. "Superman reports no signs of unusual seismic activity. With nothing further to look into, you let it go in favor of other investigative pursuits. You do not find him, as you are not meant to. He stays there. His family, his friends, they cannot find him. His captors tell him they have moved on. He does not believe them, until he does. He stays there. He stays there until he is strong enough to save himself."

Clockwork speaks stiffly, rattling off the chain of events as if reading a Justice League debrief. "He is King. He will always be King. He is strong, and good, and compassionate, and he is great for my people because yours have betrayed his trust beyond repair. He throws himself into being the best to ever Be, because there is nothing Left for him otherwise. We love him. We love him. We love him. My King. Forevermore."

The red film in his eyes stall out, and Bruce is forced to look away from how bright the image is, barely making out a silhouette before they dull back to their regular red.

"I am not inclined," Clockwork says slowly, "To this future."

"Because of what it means in the present," Bruce finishes for him. "They're not just imprisoning him, are they."

"They will have already muzzled him."

Clockworks is right in front of him faster than he can process, fist gripping the medallion at his neck so tight he now feels the ribbon digging into his skin.

"Unlike you, Mr. Wayne," and for the first time, the god is angry, and the image of it will haunt Bruce for the rest of his life, "I do not believe in building a better future on the back of a broken child."

"Find him," the deity orders, and yanks the necklace so hard the ribbon rips—

Clack!

"sluuuuurp!"

"Master Timothy, honestly!"

"Sorry Alfred!"

[hellishfig]

for the amount of time i spend thinking about erika ishii, i do not post about them NEARLY enough

everything i've ever seen them in, they have been fully dialed in. they understand the genre, they understand the character they're playing, and they NEVER. FUCKING. MISS

my current dnd character is actually based on multiple characters of erika's that i enjoy. my character is a witch (like ame of worlds beyond number fame [thank you to the witch class playtest]) but she is also a brewer who grows weed and shrooms, and deals them, and does them (and her personality is very much modeled off of danielle barkstock in dimension 20's the seven)

i feel that many of my favorite moments from erika are often focused on other characters. but many of those character moments would not have been possible without erika's incredible roleplay and sense for storytelling

and when the moment IS focused on erika's character? spellbinding. groundbreaking. from ame talking to orima in the overgrown shrine to danielle getting a nat 20 at the masquerade ball, i always fall into the scene and feel it so deeply due to erika's skill and poise and commitment to the story being told

tldr i think erika ishii is incredibly talented and wonderful

[naturalhawktuah]

[haunted-xander]

Who's the "real" me?

+ some references for the Rise-related things I included <3

[egophiliac]

still absolutely losing my mind over Lilia

[ilovedthestars]

A thought I’ve been having: While it's important to recognize the long history of many current queer identities (and the even longer history of people who lived outside of the straight, cis, allo “norm”) I think it's also important to remember that a label or identity doesn't have to be old to be, for lack of a better word, real.

This post that i reblogged a little while ago about asexuality and its history in the LGBTQ+ rights movement and before is really good and really important. As i've thought about it more, though, it makes me wonder why we need to prove that our labels have "always existed." In the case of asexuality, that post is pushing back against exclusionists who say that asexuality was “made up on the internet” and is therefore invalid. The post proves that untrue, which is important, because it takes away a tool for exclusionists.

But aromanticism, a label & community with a lot of overlap & solidarity with asexuality, was not a label that existed during Stonewall and the subsequent movement. It was coined a couple decades ago, on internet forums. While the phrasing is dismissive, it would be technically accurate to say that it was “made up on the internet.” To be very clear, I’m not agreeing with the exclusionists here—I’m aromantic myself. What I’m asking is, why does being a relatively recently coined label make it any less real or valid for people to identify with?

I think this emphasis on historical precedent is what leads to some of the attempts to label historical figures with modern terminology. If we can say someone who lived 100 or 1000 years ago was gay, or nonbinary, or asexual, or whatever, then that grants the identity legitimacy. but that's not the terminology they would have used then, and we have no way of knowing how, or if, any historical person's experiences would fit into modern terminology.

There's an element of "the map is not the territory" here, you know? Like this really good post says, labels are social technologies. There's a tendency in the modern Western queer community to act like in the last few decades the "truth" about how genders and orientations work has become more widespread and accepted. But that leaves out all the cultures, both historical and modern, that use a model of gender and sexuality that doesn't map neatly to LGBTQ+ identities but is nonetheless far more nuanced than "there are two genders, man and woman, and everyone is allo and straight." Those systems aren’t any more or less “true” than the system of gay/bi/pan/etc and straight, cis and trans, aro/ace and allo.

I guess what I’m saying is, and please bear with me here, “gay” people have not always existed. “Nonbinary” people have not always existed. “Asexual” people have not always existed. But people who fell in love with and had sex with others of the same gender have always existed. People who would not have identified themselves as either men or women have always existed. People who didn’t prioritize sex (and/or romance) as important parts of their lives have always existed. In the grand scheme of human existence, all our labels are new, and that’s okay. In another hundred or thousand years we’ll have completely different ways of thinking about gender and sexuality, and that’ll be okay too. Our labels can still be meaningful to us and our experiences right now, and that makes them real and important no matter how new they are.

We have a history, and we should not let it be erased. But we don’t need a history for our experiences and ways of describing ourselves to be real, right now.

[heybiji]

"This city… you give everything, and you know what they do? They take it.”

[sleeplessdreamer14]

Do you think Ford ever just looks at you and wonders if you’re just a dream; a figment of his wildest imagination? You sure seem like it sometimes.

[leonelmolinari]

I've been practicing using the "Dream's End Come True" style to make ultrakill stuff

i think it turned out well :3

[v-albion]

TIME FOR A DTIYS !! 🎉🎉🎉

In celebration of hitting 2k+ followers on tumblr and 1k+ followers on insta!

Thanks to all of you for being here!!

<<<<<<<Rules under the cut>>>>>>>

- use the hashtag #valbion2kdtiys

- No deadline

- You can change details and positions but keep it recognizable as Lee

- Tag Me! I wanna see your beautiful entries!

- Have fun!

Added the lineart version!

[mischievous-thunder]

[wavesoutbeingtossed]

Taylor and her team really don't get enough credit for how innovative they are and how shrewdly they have their finger on the pulse in terms of industry practices and consumer demand, and things like releasing the tour movie and accompanying book independently are just one part of that. Years from now people are going to study their operations and have the data to back up that they really are industry disruptors and how unique Eras was from a business standpoint.

[ladybeug]

the other day at work i saw someone with platform uggs. just thought you might enjoy that

Thats it. Thats the comic. Im using that horror movie technique where its scarier if you don't see the monster.

anyways this is such a throwback. you always send me the shit that somehow makes me laugh, I am remembering a specific one that I swear was ten years ago. anyways