#and all the things unsaid

[happycattail]

Once in a while I’ll just think about the scene when Natsume could no longer see yokai and Nyanko- sensei transformed into his true form and Natsume couldn’t see him.

The look in Madara’s eyes, the way it pans out to show Natsume surrounded by Madara but not seeing him, the utter sense of loneliness within that one scene is so fucking good.

It really just fully shows how important they are to one another. Natsume wasn’t too sad when he couldn’t see Chobihige. It’s only when he realizes he could no longer see Madara, that he finally feels that loneliness again. Similarly, the focus on Madara’s eyes and despite him not saying anything you know he’s hurt that Natsume could no longer see him.

It’s such a bittersweet but beautiful scene and whenever I think about Natsuyuu that’s one of the first image that pops in my head.

[ohtendril]

2.07 - 3.08

[poorly-drawn-mdzs]

Parallel Lines and Brothers.

[First] Prev <–-> Next

[fairandfatalasfair]

Edwin doesn't talk about hell because Charles is innocent, pure and righteous and destined for heaven, and doesn't deserve to be tainted by the ugliness of Edwin's past.

Charles doesn't talk about home because Edwin is innocent, sweet and soft and a stranger to violence, and doesn't deserve to be tainted by the ugliness of Charles' past.

Edwin doesn't talk about hell because he doesn't want Charles to think of him as broken, doesn't want the first friend he's ever had to look at him with pity thinking of the hunted animal he became in those green-lit halls.

Charles doesn't talk about home because he doesn't want Edwin to see him as weak, doesn't want his favourite person, the one he's sworn to protect with every ounce of strength he has, to know Charles couldn't even protect himself.

Edwin doesn't talk about hell because he doesn't know where to start. It's one thing to say that you spent 73 years in the worst place, with the worst people. It's another to try to open your mouth and pour out what that means. There is no order of events or narrative structure that can make sense of that much grief and rage and terror and anguish. There are no words in any language to describe the scale of it.

Charles doesn't talk about home because silence is a hard habit to break. He learned it young, saw his parents lie to teachers and doctors, and prompt him to do it too. He practised it all his life, 'till the lies came to his lips easier than the truth. Slipped on the stairs. Wasn't looking where I was going. My fault. How do you crack open that vault? There's never a good time to bring it up. It's easier just to leave it unspoken, hinted at but never explained.

[peachdues]

WARNING!! This man WILL pump a bucket of cum in you after telling you to k*ll yourself, get butthurt when you don’t spend the night with him, and then will be woefully oblivious to your suffering in the early stages of a pregnancy he’s stuck you with!! But he’ll still try and chase you to the end of the earth to make it right for some reason!! Don’t trust him (do)!!

[alfairy]

Nimona AU where Ballister and Nimona do leave the kingdom and go over the wall to find a new safe home. Years pass. The kingdom is more paranoid than ever because the queen killer and the monster were never caught and could presumably still live among them or return to cause more chaos.

The director decides one day that they need to take the fight to the monsters, strike first before they are stricken again. Knights are sent out beyond the wall to search the surrounding land and burn down the woods in order to “smoke the monsters out.” Destroying everything, trying to fight a monster that was never even there.

During one of these instances, Ambrosius and Ballister finally see each other again face to face for the first time in years since that fateful interaction at the institution. They’ve both changed, physically at least; Ambrosius’ hair is longer, Bal’s got some more grey streaks and a new arm upgrade. But underneath all of that they���re still the same, still got that lingering hurt and romantic feelings. Nimona is still the same as ever and hasn’t aged a day.

(Also idea that maybe there’s other small communities and people living outside the wall that Bal and Nimona ended up quietly settling down in. People who are far more open minded and accepting of others, and who are more concerned about the walled off kingdom with guns pointing at them than this nice guy and his cool daughter. That’s their neighbor and they’re not gonna let some knights storm in and cause trouble for him.)

[alena-draws]

Little snippet from a vashwood reincarnation comic that I do not have nearly fully fleshed out in my head with written down text that would surely be 50+ pages and which I will probably get to draw never aaaah

[is-lu-for-everyone]

TUA Season 1 you'll always be famous. You came, served cunt, trauma and siblinghood and ended with a cliffhanger that spawned great fanfics but that in canon led nowhere. Still thinking about that time when many of us thought they all came back to their kid bodies in the past. What a time

[secriden]

I genuinely feel like I'm losing my mind about the opening scene in THK's Episode 6. Like, look at them, just look at them!!!?

Style is all playful, anticipatory defiance at first. He's just teased Fadel about falling for his "overdramatic" antics and has been shoved back onto the bed to wait with bated breath for Fadel's response.

And rather than getting annoyed, Fadel teases him right back, takes on that same flirtatious tone and actually escalates things. This is Fadel not merely appreciating the way Style is -- the way he never quits, and the way he is always eager for more -- but welcoming it and responding in kind.

Style's gaze goes half-lidded, already tipsy-drunk on the thrumming energy between them. I won't screenshot the whole exchange, but Fadel continues the metaphor, talks about the importance of exercise, of building up stronger muscles, and Style's eyes throughout are glinting in delighted amusement.

Fadel has learned to speak the same language that Style does. This goes beyond a knowledge of mutual desire and attraction, this is them falling into patterns of communication that celebrates who Style is as a person. Fadel has come so far from the man who rolled his eyes in annoyance at Style's obnoxious flirting. Fadel would never have spoken this way before he knew Style, but here he is playing Style own game brilliantly.

Style teases Fadel more, plays coy and innocent like they don't both know this is about sex and the natural progression of the metaphorical glove Style threw first. He wants to see how far Fadel will take this, wants to see if Fadel is going to back off or if he'll really see it through.

But Fadel doesn't crack, doesn't change the topic or dismiss the moment. Instead, he turns earnest and, I think, slightly catches Style by surprise here. The words he says are still in line with the metaphor, but Fadel's eyes run over Style's face like he's taking in each precious feature and his tone is all whisper soft and warm; it’s sweetly affectionate in a way that suddenly makes this flirtatious moment feel tender and fond and soft.

And the words themselves: “you need to exercise daily" -- an unspoken commitment, the domesticity of it all, the implicit acknowledgement of belonging. The suggestion of a permanent future with Style.

God I wish I could gif this specific 1-2 seconds so badly. I don't even have the right words to describe what's going on?? It's the way Style's eyes turn molten with intent, the way he ever so slightly tips his head upwards towards Fadel, the way something about his expression is suddenly broadcasting desire for Fadel to reach out and take.

So Fadel does, but the way he does is just so delicate?? He touches his lips to Style's almost like a prayer, gaze locked to Style's before both their eyes fall shut into the kiss. This moment is so exquisitely fragile, threaded through with this sense of something like wonder.

Fadel presses his lips down, first to Style's lips and then his cheek and the vulnerable bared column of his neck; slowly draws himself closer and closer until he has his whole weight pinning Style down, skin to sun-warmed skin (and heart to heart).

And Style welcomes every moment of it; tilts his head to give Fadel more access to his neck, runs his hand up along Fadel's back to cradle his head and pull him closer as he lets Fadel settle himself more firmly between his legs because he just can't get enough.

This scene is less than 30 seconds long, but there's something about it that makes me feel insane. It didn't have any of the heated passion and ferocity of so many of their other scenes, but there was something just so tender and lovely and soft and calm and sweet about this.

I'm just-- gonna-- *buries my face into a pillow and sCREAMS*

[hawkinsunderground]

pretty minor but in the new bts, from the angle of all their hands, it looks like Mike and Will are across from each other. Great angle if you want to do a shot where Mike and Will catch each other's eyes, exchanging glances and the camera lingering on it to show that there's a more intimate understanding between the two. Maybe with a little smile at each other before the moment fully breaks??? As a treat?

[anxiousapplepie]

Do "grey" roses exist, or are black and white two extremes with no middle ground [outside of, y'know, actual colors] ALSO since pink is technically light red, is there a definite line between what counts as a tinted red and a regular pink rose, or is it sort of subjective? I bet that kind of thing REALLY bugs city-roses, since they seem to care a lot about that kind of stuff. In general are 'unclear' colors a thing? Like SUPER dark colors that aren't actually black, and things like reddish orange and purpish pinks?

sorry for so many questions about semantics that probably aren't all that important. I LOVE nit-picking and overthinking things!!

"Grey Roses" do not exist. Obviously the color grey is a thing, but just like how Dragons are associated with green, grey is the color associated with another race in the RK world. The is a very blurry line between colors, and most City Roses officially call you a "pink" or a "tinted red" or any other color based on your magic abilities. And you bet your socks the City Roses get REAL pretentious about what 'color' you are, even though it is mostly subjective and not at all a good way to judge someone's worth as a person or their skills in battle. Unclear colors are a thing! There's a fair few Roses that dance between the line of colors; the tones between red-pink-purple is vast, and Oranges historically used to be an 'unclear' color. There's a lot of negative stereotypes connected with Oranges still (and I'm so sorry Jim they're kinda accurate for you XD) Shaded Roses like dark reds and oranges and purples are a thing! But most City Roses will assume if you're going to be that kind of 'dark color', you're aiming to become a Black Rose. And getting your hair/magic to turn 100% black takes a lot of dedication, and unless being a Black Rose comes naturally to you it WILL be hard to keep your hair a darker color. MATE BUDDY MY PAL no worries about these questions that gave me the perfect excuse to ramble about the color lore I've spent a year trying to figure out! And trust me. THE COLORS ARE SO IMPORTANT, it's like! 70% of the main plot and it will come up in the pop quiz >:3

[i-dare-say]

You know what I love about Binghe's character? His role in the story and the way it changes our perception of him through the narrative.

We first meet him as this poor boy and we, just like Shen Qingqiu, get swept by the image of the white lotus. He's a teenager, and we're told that at this age he didn't have any of the darkness that would reign over his life after the Abyss. We're only shown an obedient and sweet Luo Binghe. He is the "young and innocent protagonist".

But we know about his future. Shen Qingqiu tells us so many times that the Abyss will corrupt him irreversebly, that he will come back and take his revenge on the scum villain. The problem is that we see the story through Shen Qingqiu's point of view, he is our protagonist, making Binghe our villain. So we read about the disciple days with the constant thought that this boy will one day become the antagonist.

And see, there's a slight difference between villain and antagonist. A villain is perceived as someone with bad intentions, while an antagonist is just someone who opposes the protagonist.

When Luo Binghe comes back from the Abyss, he is both villain and antagonist. He goes against Shen Qingqiu (antagonist), and the story tells us he wants to kill him like the original PIDW (villain).

Then it's revealed that it may not be exactly like that. First, we're shown that Binghe has romantic feelings for Shen Qingqiu (which, yeah, it's obvious to everyone but him, but still), giving Binghe a new possible role in the story: love interest. This immediately reduces the perceived danger of his actions. It brings him closer, it makes him a safer character.

Yes, there are stories with villainous love interests that do horrible shit, but we're dealing with the most common way narratives treat this type of character: generally, the love interest is good. And so, the moment this role is put upon Luo Binghe by the narrative itself, it also influences the reader.

But Shen Qingqiu, and consequently we, don't lower our guard. Despite being the love interest now, we also know that Luo Binghe has conspired to take down his master and organized the sower plague. He's attacked Huan Hua Palace, killed Gongyi Xiao and many others, putting the blame on Shen Qingqiu. By the end of book 2 he's villain, antagonist and love interest.

But it all gets proven wrong. That almost everything that happened to Shen Qingqiu was not because of Luo Binghe. We discover that there are other villains in the shadows.

The sower plague and the the attack at Huan Hua Palace was caused by Tianlang-Jun and Zhuzhi-Lang. Qiu Haitang's involvement and Shen Qingqiu's imprisonment was one of the Old Palace Master's schemes. All of this destroys Binghe's role as villain and antagonist.

This is the moment Shen Qingqiu decides to trust Binghe, pushing the reader to do the same. Because he's just "love interest" now and by the standard conventions, he's good. We trust him to be. Shen Qingqiu himself starts to project onto him that same image of white lotus. Since our image of Luo Binghe was so bad previously, this makes it jump way higher. It lulls us into this much better perception of his character.

The Old Palace Master was a villain and he died, as villains are often destined to. The only obstacle remains Tianlang-Jun, who doesn't harm Shen Qingqiu because of Zhuzhi-Lang's wishes (not an antagonist), but also wants to merge the realms (villain).

So our protagonist and love interest move toward the action, the big battle against the final boss. The villains get defeated easily and after the truth of what happened to Su Xiyan, Tianlang-Jun gives up his plan. His role as villain ends there. But the story has more antagonists to reveal.

Luo Binghe has never stopped being one. The narrative only hid his real motivations and let him cover himself with the role of love interest. And at this moment, he drops the mask and lets all of his feelings out, everything he didn't tell Shen Qingqiu nor the readers. He becomes the final antagonist, the one we've had since the very beginning.

The thing that saves him is his status as love interest, because no, he's not the only one to blame for what is happening. There's Xin Mo, who has fed on his insecurities and negative feelings, and Shen Qingqiu himself. He is the one who has constantly pushed Binghe to the side, believing himself to do the right thing, first by giving Binghe his death and then by trying to keep him "protected" from his father.

In the end, Luo Binghe wasn't a villain. Shen Qingqiu was, and he dies. But since he's not a real villain, he's allowed to come back.

When everything is over, their story comes to an end. The narrative itself leaves them free, to be whoever they want to be.

[ruvviks]

PLEASE DO NOT TAG AS YOUR OWN OC OR PAIRING.

Nathan and Ruben share a bond more powerful than most; mutual understanding through past experiences no one should ever have to go through, and through past actions so horrible they cannot be spoken of. Their grief and the blood on their hands binds them to the STEM technology they created, which has alienated them from the rest of the world— but they give each other the comfort they have both longed for so desperately for years, and that is all they need. They are each other's counterpart; you cannot imagine one without the other, like two sides of the same coin. Through their pain, their grief, their desire, and their regret, they have become one.

anna akhmatova, the guest // bones; equinox // 'i won't become' by kim jakobsson // agustín gómez-arcos, the carnivorous lamb // by oxy // achilles come down; gang of youths // czeslaw milosz, from 'new and collected poems: 1931-2001' // 'extended ambience portrait from a resonant biostructure' and 'migraine tenfold times ten' by daniel vega // a little death; the neighbourhood // marina tsvetaeva, from 'poem of the end' // by drummnist // katie maria, winter // 'nocturne in black and gold the falling rocket' by james abbott mcneill whistler // micah nemerever, these violent delights // body language; we are fury // 'the penitent' by emil melmoth // chelsea dingman, from 'of those who can't afford to be gentle'

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree

[roominthecastle]

I read your letter. I should have done that when you gave it to me. What you said about my taking you in all those years ago... meant a great deal. I was a bit of a mess. And you were an absolute stalwart.

[lemongogo]

& ofc he dreams of her

[winteranddeath]

I think people with whom I've shared even a slightest bit of my life lore should die.