#and it all DOES mean something

[peachcitt]

text from thirteen by @anna-scribbles

art by me :)

read thirteen read thirteen it’s everything read thirteen read thirteen read thirteen read thirteen<3 happy thirteen day. have you read thirteen yet. read it again if you have. prepare for your life to be changed if you haven’t.

[scoutzone]

scout being the father he never had i'm going to fucking cry

[raticalshoez]

Was thinking of my post about dream teams and got really invested in whatever Unrequited Hate has going on

[lucabyte]

On autonomy, and what it means to be Obliged to Help.

Bonus:

[keferon]

“Mistakes on mistakes until” ch 69 spoilers below!

Ahahahahahahah here I go again

Mistakes on mistakes until until I can draw Jazz with my eyes closed

I woke up, checked my phone, woke up for real and decided that whatever plans I had for this day yeah no they can wait a little bit kfkgnfk

Also. Consider listening this while reading. Or don't who am I to tell you what to do~

[egophiliac]

LET THE BOY HAVE AN EDUCATION

officially at the point where we're starting to see where it's all headed and I am just going NYEEHEEHEE in delight at it all. ahhh...next week can't come soon enough...

[bluerosefox]

Her Astrophel and Sterling

hmmm

Hmmmmmmmm

You know what.

You know those AU's where the Batfam finds or learns about either hidden or thought to be dead Al Ghul Danny! with a deaged/daughter Dani (Ellie) (I should know, I created a few of those storylines) but what if, now hear me out, what if instead of them finding Danny first its Talia.

Do I want Talia discovering her thought to be dead son to be alive? Yes. Do I want her to find him while investigating Amity Park when the League gets reports of 'Lazarus creatures/water'? Yes.

DO I WANT HER TO KNOCK ON THE FENTON'S DOOR, fully ready to pretend/honey talk her way into the house to uncover what the Fenton's know, ONLY TO MEET A LITTLE ELLIE?!

YES.

Ellie whose eyes and hair look like a copy of her Beloved but she can see bits and pieces of herself as well. Talia knows the child in front of her was not fully her's though but everything makes sense when she hears a voice, a voice she hasn't heard in ages but as a mother just knows, speak out.

"Ellie! I thought I said do not answer the door my Sterling."

"But Daddy, yous was busy fighting the hotdoggys!"

Talia's eyes widen when she finally catches sight of familiar black hair and blue eyes.

and she could only lightly whisper a old nickname she hasn't dared uttered in ages, a name she secretly gave her son due to his love of the stars "Astrophel..."

[collieii]

someone probably said this already but in spiderverse i think it's interesting how when pavitr was first introduced everyone thought something bad was gonna happen to him bc of how confident and optimistic he was. and then in the actual movie we see that something bad was supposed to happen to him (police chief dying!) but it doesn't! miles stops it! and miguel berates miles for this, says it's going to cause the universe to collapse or whatever.

there's this idea that tragedy is inherent to spidermans growth, and while it's true that some spiderpeople learn important lessons through loss, no one stops to ask, is it really necessary? yeah, maybe the chief was supposed to die. but why does spiderman have to be formed through tragedy? why do we (as heroes) have to let people die? pavitr didn't lose anyone, and he's still a good spiderman! maybe, if he doesn't suffer, he'll end up better off for it!

so while miguel is arguing for all this big picture stuff about saving the multiverse he's lost sight of what it really means to be a spiderman, he's not looking out for the real individual people. yeah it's just one person who would die, but that one person means something to someone. shrugging and saying "stuff just sucks sometimes, we can't do anything about it" is the opposite of what superheroes do. pretty obviously, miles arc is also a reflection of the struggles people face in real life, working within unequal systems, where it's easy to shrug and say "that's just the way it is" and not ask "but why does it need be this way? can't we do something about it?"

miguel is arguing that you can't have your cake and eat it too. presumably, miles and co. are going to find a way to get around that and change things for the better (and maybe that's why miles has that line about two cakes in the advisors office!)

[anna-scribbles]

chapter cards for thirteen: november - april

read on ao3

[claraoswalds]

This is a brand new science for me, and I love it. The language of luck. 'Cause what is a coincidence but a form of accident? Two things bumping together unexpectedly. Like you and me.

[chimerafeathers]

i know we love to rag on Siffrin for feeling so miserably guilty and manipulative for the crime of [checks notes] “doing nice things for their friends so that they’ll be happy and care about him even if it’s not perfectly sincere on his end”

but like. in context i don’t think that thought process is anywhere near as nonsensical as it always sounds written out like that

i’m sure i’m just stating the obvious here but it’s not really about the “crime” of making people happy. it’s about what he’s not doing, which is anything that would allow their friends to have any real knowledge or agency over the situation they’re all in.

it’s about never acting according to his real feelings in the moment and letting them see the messier version of him that exists now, never allowing their relationships to evolve or develop meaningfully beyond the “safest” iteration, the thing that is Known and produces the Correct Results, because anything else has the possibility of leading to negative emotions towards Siffrin.

Siffrin knows he’s not really doing all this for their benefit, not entirely, because the “right” thing to do would give them the full context to choose how they feel and what to do about it. they’re happy, but in a way they don’t get to keep. they’re happy, but in a way that keeps Siffrin safe from anything more complex and real. they’re happy, but only because some Siffrin in the past said the right things once, and this new, bitter, lonely, desperate version wouldn’t know how to get the “correct result” without a script to follow. they’re happy, and it was real once, it meant something once, but not anymore.

they cared about that Siffrin, yes, but would they still care about this one, if they knew? if Siffrin ever allowed them to know? (he won’t, he can’t, he refuses.)

and there’s something that could have been said in favor of Siffrin allowing himself this “selfishness” if it made him happy anyway, if it could be a genuine source of comfort in a difficult situation—but it doesn’t! not really! because that guilt is there, because that fear is there, because of how flimsy it all inevitably feels.

so they’re not doing it for their family’s benefit, because that happiness is predicated on lies and ignorance. he’s barely doing it for his own benefit, because they’re torturing themself by revealing things they no longer want to reveal, concealing things they no longer want to conceal, acting out of fear of rejection rather than genuine desire for connection. who benefits from this hollow “kindness,” really?

that’s why the last loop had to be the ugliest one. Siffrin had to see that the worst could happen and there could still be love and connection on the other side. that even when the party sees the worst of him, when they have the agency he’s been knowingly denying them, they will still choose to love him.

[hinamie]

もう一回、もう一回

[poorly-drawn-mdzs]

Ghouls night out

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[lucabyte]

i CANNOT stress enough how incompatible the themes of these two pieces of media are. i promise my media literacy ability is actually good im well aware that these character mappings are absolutely nothing. that said. play with me in this space. in this sopping wet miserable space. its bad luck to kill a piou piou

original screenshots (and hypnosis 1904) for reference

[jacketpotatoo]

The thematic implications of Caitlyn transitioning from solely a sharpshooter, to learning the ropes of hand-to-hand combat, and how it follows her growing distrust in Ambessa. If the weapon is a reflection of mentality, it prefigures Cait's mental expansion - away from narrow-minded thinking and acting from a distance. Instead of tackling from afar, she melds her skills in accuracy and deduction *with* close-up action. This is her power play. "Vision" is cait's strength (as opposed to "Might" and "Guile" and "Sacrifice") and Ambessa qualifies this with the phrase "tunnels in your eyes". Ironically, she trains Caitlyn and literally gives her the tools to pull away from her rifle-mindset. In teaching her how Noxus views strength, she offers her the keys to dismantle it

[egophiliac]

starting off with an amuse-bouche of some of my initial favorite bits! y'all, this update was WILD.