#and then more volumes of saga!

[tehzeldamaster]

drew some ships I love, as a treat💜

[hootiee]

viz just straight up forgot to add text here. took them an entire year to release the eng volume btw. 😐

[moonpaw]

did manga editing for 16 hours today

[pixiestickie]

arginana as that twitter sapphic thing

credits below

[batbaffle]

i'm gonna start reading *spins roulette wheel* swamp thing

[revivemyreverie]

IM TWEAKING IM TWEAKING FLAILS LIKE A FISH JUMPS AND CLICKS MY HEELS IM STAPLING IT ALL TO MY BODY AND FACE AND SKULL AND TEETH AUAGAHAHAIABAJABUEEEEEEEEEEEE

the way i had to pull out the list for this anyways💀 on my knees for diannie💍/ towerteddy❗️ /sagasuji🧽. pick and choose if u want im simply letting the freak out..................

I SAY LET THE FREAK OUT OOMF... lets get our hearts pumping shall we 😜putting the more normal couples under the cut so they're not forced to witness this lol

[kuroshitsuji-wiki]

It's Yana Toboso's birthday! (January 24, 1984)

Yana forgot her birthday this year...

... so there's even more reason to congratulate her and celebrate!

Some trivia:

She chose her penname "Yana Toboso" to indicate what kind of manga she wanted to create: Because there are so many mangas whose central themes are dreams, hope, friendship, and love, she wanted to make a manga whose focus is the opposite. "Yana" derives from "iya" (unpleasant, detestable, disagreeable; here: unpleasant/nasty child), and "toboso" is meant to signify importance: a "toboso" is a cavity in the frame of a door used as part of a pivot hinge; as doors wouldn't work without hinges, hinges are important objects. "Yana Toboso," therefore, is meant to mean "the hated/bad child is in the middle" (憎まれっ子がど真ん中にく る). (Character Guide, page 146)

Yana once stated that Ciel resembles her the most out of her characters. (Character Guide, page 147)

*cough* Obviously.

Exhibit A:

(Downstairs with Kuroshitsuji VII, from Volume 17)

(Chapter 76)

Exhibit B: The iconic Pancake Saga from 2018!

Yana's grandmother encouraged her to become a mangaka, and her mother pushed her to submit her work to a publisher when she was 20. Both have since passed away. (sources: akumadeenglish, The Japan Times)

She is a fan of the band L'Arc-en-Ciel (source). HYDE, the vocalist of that band, wrote the opening for Season 5. Yana was obviously very happy about that!

Yana contemplated making "fluffy spin-offs" to Kuroshitsuji, e.g., "a gourmet manga featuring the canteen of the Shinigami dispatch association HQ, or a manga where the Indian butler cooks curry or the black butler makes sweets, or where the servants make small discoveries." However, she dropped those ideas because her "fluffy concepts" kept becoming ominous after a few chapters. (source)

Kuroshitsuji was not meant to be set in 19th-century England from the beginning. Mr. K and the chief editor eventually suggested England as the setting. Yana, who did not know much about England (and could not find many materials early on; source: Downstairs with Kuroshitsuji II in Volume 2), especially not about 19th-century England, and did not believe the manga would be a hit anyway, then cooked up the wonderfully anachronistic Volume 1. Since then, Yana has become more knowledgeable about Victorian England, got a historical advisor (Rico Murakami) who also, sometimes, translates sources for her (source: Downstairs with Kuroshitsuji Special in Volume 15), has been (re-)learning English, and visited England twice. The manga has, thus, become significantly more historically accurate over the years. Still, as it's a fantasy manga, Yana likes to incorporate anachronistic elements for story purposes (e.g. Grim Reaper tech and possessions, Wolfsschlucht) anyway (or simply because she wants to; e.g. the idol groups, I suppose). Anachronisms have, thus, shifted from accidental to deliberate.

Sebastian's mobile phone will be forever iconic, but it has been retconned for over a decade now.

And The Wild Earl lost more than his head was cancelled when all TVs were thrown out of the continuity with the end of the Indian Butler Arc (TVs are last mentioned in Chapter 23).

May we learn many Victorian things alongside Yana in the next years too!

(Downstairs with Kuroshitsuji II, Volume 2)

And may she have a happy, restful birthday so that she doesn't forget it again^^' (And the best of health^^)

[snoopcco]

. ݁₊ ⊹ . ݁ ⟡ ݁ . ⊹ ₊ ݁.

제이크 , false image.

>_< mai’s endless fluff saga

⊹ ࣪ ˖ popular!jake x quiet awkward! reader. ! 💻

⊹ ࣪ ˖ 🗒️ when reader meets popular jock jake who seems mean and unreachable, turns out to be a fluffy, obsessed, baby girl boyfriend. !

⊹ ࣪ ˖ ✩ jake occasionally calls reader ‘glasses’ (because reader is a slight nerd. 🤓☝️)

JAKE WAS DEFINITELY THE POPULAR GUY. known by everyone in their school, “sim jaehyun” this! “jake” that! the whole school knew jake, he was a jock, an amazing athlete, a smart student.

but that all changed once jake met her.

a recap of their love story? happy to tell you.

she was in the library, studying for the maths test, jake was roaming around. finding some peace and quiet in the library, that was his escape. his escape to just feel a bit free and more calm. at that moment, she dropped her wallet trying to reach for her pen, not even noticing that it fell over the table that only she had occupied.

with jakes fast reactions, he quickly noticed the wallet silently thudding on the carpeted, calling towards him.

he thought the girl had heard it, but to his luck, it seemed as if she was wearing headphones that were on 100% volume. jake couldn’t just leave the library all guilty for not telling some stranger that their wallet tipped over and was left on the ground, right?

so, he made his way slowly to the busy girl. picking up the wallet that was a few inches away from her chair, not trying to disturb her. the wallet landed on her desk, as she suddenly looked up.

jake took a slight glance at the studying girl, she had a high pony tail and clear specs that made her features pop out. she had doe eyes that her glasses couldn’t even hide from others even if you were far away.

he gulped, realizing that it was the ‘nerd’ in the school. but to him, he know found out when you looked at her longer, she was beautiful. she wasn’t ugly, but she seemed gorgeous to his eyes at first sight.

“your.. uhm.. wallet fell. I wanted to help you cause you seemed like you didn’t hear it.” his hand landed on the back of his neck, specifically, his nape. but to the girls eyes, he was the popular jock that couldn’t be seen with a person like her.

however, his tone. his soft voice, it made the mean and arrogant remarks of the jock disappear. “thank you, jake.” she bowed practically 90° from her seat, still stunned that jake initiated a conversation with her.

“may I sit here?” jake asked to bring up a question, wanting to have a small (a long conversation that could last for hours at a time) chat with the awkward student.

“oh um sure!”

(border >_<)

jake and the girl bickered and talked for a longer time period that they both wouldn’t had expected. they found out how similar they were despite their differences, leaving the girl who had been looked as the nerd, the girl who was an outcast.

and from that moment on, jake knew that the girl he had met was the one who had to be his.

“baby no! I have to go!” the girl whined, the clingy and pouty jake who didn’t want to let go of her waist that fit perfectly with his veiny hands. he tugged onto the front of her shirt, trying to lower the crop top.

“you can’t leave your boyfriend hanging all alone, glasses, and why should I let you leave in that short ass crop top? when I’m NOT even there.” jake frowned, but she was fed up. or she would be late.

“seriously jake! I need to leave right now.”

“no, glasses, your mine”

it drove crazy at how much jake knew her weaknesses, his cute tone, his eyes, his ability to make her feel butterflies in her stomach. It made her weak.

“glasses, stay, stay with your boyfriend. It would be better than any other shit you have to do, because your boyfriend can spoil you rotten.” jake kissed her on the cheek, still desperate for her to stay.

“no.”

jake soon grabbed her legs and put her over his shoulder, walking away from the door and back inside. “boy! jake! put me down right now!”

“don’t want to.” jake chuckled, all giddy. he loved making his girlfriend all mad and heated up, it made it more fun to tease her endlessly. is this what you get for having a boyfriend who is a serious athlete?

she thought, having a boyfriend like jake, he wouldn’t have any time for her. he would be a booked and busy guy who wouldn’t have time for her. LOUD INCORRECT BUZZER. jake went out of his way to cancel his matches if it was date night, or you wanted to hang out with him.

he made sure to always had time with you, he would rather save you then the world.

“I’m gonna kiss your face a billion times and maybe we could go already and do some of the annoying shit you need to do, hm?”

“JAKE!”

“no. it’s baby time, your mine now glasses!” jake smiled evilly, not planning to let her leave. not even in a billion years.

“this is what you get for having a jock boyfriend with a false image.”

@ jwnstars … !! so cutesie core.

OK HSHSSGGS LETS CALM DOWN AFTER THAT MUCH FLUFF ???!!!?? 😵‍💫😵‍💫😵‍💫 finally got out of my writing slump and gave into writing again. like a breath of fresh air.

anyway… I don’t know how people overlook jake as the mean frat boy ??? I see him more as the clingy bestfriend of the frat boy who always follows him around ‘cuz they besties !!!!🥹🥹💞💞🎀🎀

[damienkarras73]

An essay on Furiosa, the politics of the Wasteland, Arthurian literature and realistic vs. formalistic CGI

Mad Max: Fury Road absolutely enraptured me when it came out nearly a decade ago, and I will cop to seeing it four times at the theatre. For me (and many others who saw the light of George Miller) it set new standards for action filmmaking, storytelling and worldbuilding, and I could pop in its Blu Ray at any time and never get tired of it. Perhaps not surprisingly, I was deeply apprehensive about the announced prequel for Fury Road's actual main character, Furiosa, even if Miller was still writing and directing. We didn't need backstory for Furiosa—hell, Fury Road is told in such a way that NOTHING in it requires explicit backstory. And since it focuses on the Yung Furiosa, it meant Charlize Theron couldn't return with another career-defining performance. Plus, look at all that CGI in the trailer, it can't be as good as Fury Road.

Turns out I was silly to doubt George Miller, M.D., A.O., writer and director of Babe: Pig in the City and Happy Feet One & Two.

Furiosa: A Mad Max Saga is excellent, and I needn't have worried about it not being as good as Fury Road because it is not remotely trying to be Fury Road. Fury Road is a lean, mean machine with no fat on it, nothing extraneous, operating with constant forward momentum and only occasionally letting up to let you breathe a little; Furiosa is a classical epic, sprawling in scope, scale and structure, and more than happy to let the audience simmer in a quiet, almost painfully still moment. If its opening spoken word sequence by that Gandalf of the Wastes himself, the First History Man, didn't already clue you in, it unfolds like something out of myth, a tale told over and over again and whose possible embellishments are called attention to in the dialogue itself. Where Fury Road scratched the action nerd itch in my head like you wouldn't believe, Furiosa was the equivalent of Miller giving the undulating folds of my English major brain a deep tissue massage. That's great! I, for one, love when sequels/prequels endeavour to be fundamentally different movies from what they're succeeding/preceding, operating in different modes, formats and even genres, and more filmmakers should aim for it when building on an existing series.

This movie has been on my mind so much in the past week that I've ended up dedicating several cognitive processes to keeping track of all of the different ponderings it's spawned. Thankfully, Furiosa is divided into chapters (fun fact: putting chapter cards in your movie is a quick way to my heart), so it only seems fitting that I break up all of these cascading thoughts accordingly.

1. The Pole of Inaccessibility

Furiosa herself actually isn't the protagonist for the first chapter of her own movie, instead occupying the role of a (very crafty and resourceful) damsel in distress for those initial 30-40 minutes. The real hero of the opening act, which plays out like a game of cat and mouse, is Furiosa's mother Mary Jabassa, who rides out into the wasteland first on horseback and then astride a motorcycle to track down the band of raiders that has stolen away her daughter. Mary's brought to life by Miller and Nico Lathouris' economical writing and a magnetic performance by newcomer Charlee Fraser, who radiates so much screen presence in such relatively little time and with one of those instant "who is SHE??" faces. She doesn't have many lines, but who needs them when Fraser can convey volumes about Mary with just a flash of her eyes or the effortless way she swaps out one of her motorcycle's wheels for another. To be quite candid, I'm not sure of the last time I fell in love with a character so quickly.

You notice a neat aesthetic contrast between mother and daughter in retrospect: Mary Jabassa darts into the desert barefoot, clad in a simple yet elegant dress, her wolf cut immaculate, only briefly disguising herself with the ugly armour of a raider she just sniped, and when she attacks it's almost with grace, like some Greek goddess set loose in the post-apocalyptic Aussie outback with just her wits and a bolt-action rifle; we track Furiosa's growth over the years by how much of her initially conventional beauty she has shed, quite literally in one case (hair buzzed, severed arm augmented with a chunky mechanical prosthesis, smeared in grease and dirt from head to toe, growling her lines at a lower octave), and by how she loses her mother's graceful approach to movement and violence, eventually carrying herself like a blunt instrument. Yet I have zero doubt the former raised the latter, both angels of different feathers but with the same steel and resolve. Of fucking course this woman is Furiosa's mother, and in the short time we know her we quickly understand exactly why Furiosa has the drive and morals she does without needing to resort to didactic exposition.

Anyway, I was tearing up by the end of the first chapter. Great start!

2. Lessons from the Wasteland

Most movies—most stories, really—don't actually tell the entire narrative from A to Z. Perhaps the real meat of the thing is found from H to T, and A-G or U-Z are unnecessary for conveying the key narrative and themes. So many prequels fail by insisting on telling the A-G part of the story, explaining how the hero earned a certain nickname or met their memorable sidekick—but if that stuff was actually interesting, they likely would have included it in the original work. The greatest thing a prequel can actually do is recontextualize, putting iconic characters or moments in a new light, allowing you to appreciate them from a different angle. All of season 2 of Fargo serves to explain why Molly Solverson's dad is appropriately wary when Lorne Malvo enters his diner for a SINGLE SCENE in the show's first season. David's arc from the Alien prequels Prometheus and Covenant��polarizing as those entries are—adds another layer to why Ash is so protective of the creature in the first movie. Andor gives you a sense of what it's like for a normal, non-Jedi person to live under the boot of the Empire and why so many of them would join up with the Rebel Alliance—or why they would desire to wear that boot, or even just crave the chance to lick it.

Furiosa is one of those rare great prequels because it makes us take a step back and consider the established world with a little more nuance, even if it's still all so absurd. In Fury Road, Immortan Joe is an awesome, endlessly quotable villain, completely irredeemable, and basically a cartoon. He works perfectly as the antagonist of that breakneck, Road Runner and Wile E. Coyote-ass movie, but if you step outside of its adrenaline-pumping narrative for even a moment you risk questioning why nobody in the Citadel or its surrounding settlements has risen up against him before. Hell, why would Furiosa even work for him to begin with? But then you see Dementus and company tear-assing around the wasteland, seizing settlements and running them into the ground, and you realize Joe and his consortium offer something that Dementus reasonably can't: stability—granted, an unwavering, unchangeable stability weighted in favour of Joe's own brutal caste system, but stability nonetheless. It really makes you wonder, how badly does a guy have to suck to make IMMORTAN JOE of all people look like a sane, competent and reasonable ruler by comparison?!?

…and then they open the door to the vault where he keeps his wives, and in a flash you're reminded just how awful Joe is and why Furiosa will risk her life to help some of these women flee from him years later. This new context enriches Joe and makes it more believable that he could maintain power for so long, but it doesn't make him any less of a monster, and it says a lot about Furiosa's hate for Dementus that she could grit her teeth and work for this sick old tyrant.

3. The Stowaway

Here's another wild bit of trivia about this movie: you don't actually see top-billed actress Anya Taylor-Joy pop up on screen until roughly halfway through, once Furiosa is in her late teens/early twenties. Up until this point she's been played by Alyla Browne, who through the use of some seamless and honestly really impressive CGI has been given Anya's distinctive bug eyes [complimentary]. It's one of those bold choices that really works because Miller commits to it so hard, though it does make me wish Browne's name was up on the poster next to Taylor-Joy's.

Speaking of CGI, I should talk about what seems to be a sticking point for quite a few people: if there's been one consistent criticism of Furiosa so far, it's that it doesn't look nearly as practical or grounded as Fury Road, with more obvious greenscreen and compositing, and what previously would've been physical stunt performers and pyrotechnics have been replaced with their digital equivalents for many shots. Simply put, it doesn't look as real! For a lot of people, that practicality was one of Fury Road's primary draws, so I won't try to quibble if they're let down by Furiosa's overt artificiality, but to be honest I'm actually quite fine with it. It helps that this visual discrepancy doesn't sneak up on you but is incredibly apparent right from the aerial zoom-down into Australia in the very first scene, so I didn't feel misled or duped.

Fury Road never asks you to suspend your disbelief because it all looks so believable; Furiosa jovially prods you to suspend that disbelief from the get-go and tune into it on a different wavelength. It's a classical epic, and like the classical epics of the 1950s and 60s it has a lot of actors standing in front of what clearly are matte paintings. It feels right! We're not watching fact, we're watching myth. I'm willing to concede there might be a little bit of post-hoc rationalization on my part because I simply love this movie so much, but I'm not holding the effects in Furiosa to the same standard as those in Fury Road because I simply don't believe Miller and his crew are attempting to replicate that approach. Without the extensive CGI, we don't get that impressive long, panning take where a stranded Furiosa scans the empty, dust-and-sun-scoured wasteland (75% Sergio Leone, 25% Andrei Tarkovsky), or the Octoboss and his parasailing goons. For the sake of intellectual exercise I did try imagining them filming the Octoboss/war rig sequence with the same immersive practical approach they used for Fury Road's stunts, however I just kept picturing dead stunt performers, so perhaps the tradeoff was worth it!

4. Homeward

Around the same time we meet the Taylor-Joy-pilled Furiosa in Chapter 3, we're introduced to Praetorian Jack, the chief driver for the convoys running between the Citadel and its allied settlements. Jack's played by Tom Burke, who pulled off a very good Orson Welles in Mank! and who I should really check out in The Souvenir one of these days. He's also a cool dude! Here are some facts about Praetorian Jack:

He's decked out in road leathers with a pauldron stitched to one shoulder

He's stoic and wary, but still more or less personable and can carry on a conversation

Professes to a certain cynicism, to quote Special Agent Albert Rosenfield, but ultimately has a capacity for kindness and will do the right thing

Shoots a gun real good

Can drive like nobody's business

So in other words, Jack is Mad Max. But also, no, he clearly isn't! He looks and dresses like Mad Max (particularly Mel Gibson's) and does a lot of the same things "Mad" Max Rockatansky does, but he's also very explicitly a distinct character. It's a choice that seems inexplicable and perhaps even lazy on its face, except this is a George Miller movie, so of course this parallel is extremely purposeful. Miller has gone on record saying he avoids any kind of strict chronology or continuity for his Mad Max movies, compared to the rigid canons for Star Trek and Star Wars, and bless him for doing so. It's more fun viewing each Mad Max entry as a new revision or elaboration on a story being told again and again generations after the fall, mutating in style, structure and focus with every iteration, becoming less grounded as its core narrative is passed from elder to youth, community to community, genre to genre, until it becomes myth. (At least, my English major brain thinks it's more fun.) In fact there's actually something Arthurian to it, where at first King Arthur was mentioned in several Welsh legends before Geoffrey of Monmouth crafted an actual narrative around him, then Chrétien de Troyes added elements like Lancelot and infused the stories with more romance, and then with Le Morte d'Arthur Thomas Malory whipped the whole cycle together into one volume, which T.H. White would chop and screw and deconstruct with The Once and Future King centuries later.

All this to say: maybe Praetorian Jack looks and sounds and acts like Max because he sorta kinda basically is, being just one of many men driving back and forth across the wasteland, lending a hand on occasion, who'll be conflated into a single, legendary "Mad Max" at some point down the line in a different History Man's retelling of Furiosa's odyssey. Sometimes that Max rips across the desert in his V8 Interceptor, other times driving a big rig. Perhaps there's a dog tagging along and/or a scraggly and at first aggravating ally played by Bruce Spence or Nicholas Hoult. Usually he has a shotgun. But so long as you aren't trying to kill him, he'll help you out.

5. Beyond Vengeance

The Mad Max movies have incredibly iconic villains—Immortan Joe! Toecutter! the Lord Humongous!—but they are exactly that, capital V Villains devoid of humanizing qualities who you can't wait to watch bad things happen to. Furiosa appears to continue this trend by giving us a villain who in fact has a mustache long enough that he could reasonably twirl it if he so wanted, but ironically Dementus ends up being the most layered antagonist in the entire series, even moreso than the late Tina Turner's comparatively benevolent Aunty Entity from Beyond Thunderdome. And because he's played by Chris Hemsworth, whose comedic delivery rivals his stupidly handsome looks, you lock in every time he's on screen.

Something so fascinating about Dementus is that, for a main antagonist, he's NOT all-powerful, and in fact quite the opposite: he's more conman than warlord, looking for the next hustle, the next gullible crowd he can preach to and dupe—though never for long. For all his bluster, at every turn he finds himself in way over his head and writing cheques he can't cash, and this self-induced Sisyphean torment makes him riveting to watch. You're tempted to pity Dementus but it's also quite difficult to spare sympathy for someone who's so quick to channel their rage and hurt and ego into thoughtless, burn-it-all-down destruction. When you're not laughing at him, you're hating his guts, and it's indisputably the best work of Chris Hemsworth's career.

It's in this final chapter that everything naturally comes to a head: Furiosa's final evolution into the character we meet at the start of Fury Road, the predictable toppling of Dementus' precariously built house of cards, and the mythmaking that has been teased since the very first scene becoming diagetic text, the last of which allows the movie to thoroughly explore the themes of vengeance it's been building to. A brief war begins, is summarized and is over in the span of roughly a minute, and on its face it's a baffling narrative choice that most other filmmakers would have botched. But our man Miller's smart enough to recognize that the result of this war is the most foregone of conclusions if you've been paying even the slightest bit of attention, so he effectively brushes past it to get to the emotional heart of the climax and an incredible "Oh shit!" payoff that cements Miller as one of mainstream cinema's greatest sickos.

Fury Road remains the greatest Mad Max film, but Furiosa might be the best thing George Miller has ever made. If not his magnum opus, it does at least feel like his dissertation, and it makes me wish Warner Bros. puts enough trust in him despite Furiosa's poor box office performance that he's able to make The Wasteland. Absolutely ridiculous that a man just short of his 80th birthday was able to pull this off, and with it I feel confident calling him one of my favourite directors.

[revivemyreverie]

HELLO UIO HOLY BALLS!(8($39&449$483$485&48

Ahoy @revivemyreverie ! LOL

[gyubakeries]

tiya my love HELLO!

for your text imagine: what about texts with workplace rivals!jeonghan?

love you muah!

texts with : workplace rival!jeonghan

a/n: tara!!! this took way longer than i expected, but i promised you your smau on friday...... so here i am!! i honestly just went with vibes for this one, so i hope you enjoy! and thank u kae for the email tip hehe <3 p.s. tried a new style hehe

contents: jeonghan x f!reader , workplace rivals to lovers , banter , cursing , jeonghan uses nicknames (babe, darling, sweetheart, princess) , jh is called a dumb blonde , lowkey crack

yoon jeonghan vs. you : the saga - brought to you by gyubakeries

VOLUME I. they totally don't hate each other.... or do they?

VOLUME II. they totally love helping each other out.... or do they?

VOLUME III. they totally support each other.... or do they?

VOLUME IV. they totally look out for each other. (they do.)

VOLUME V. they totally have feelings for each other. (they do.)

VOLUME VI. they totally are in love with each other. (they are.)

fill this form to be added to the taglist <3

head to the masterlist for more!

taglist: @min-imum @sousydive @k1eev @livelaughloveseventeen

@unlikelysublimekryptonite @theidontknowmehn @t-102 @aaa-sia

@cixrosie @baseball-dokyeom @4shypotato

[pidgeeepombo]

°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°Reading with Jason Todd would be like you both in the bedroom, you sitting on the bed with your little book and your headphones in the maximum volume while he is with his head resting on your legs while he is reading his own book, you both have started a little literature club of two members and decided that every 5 Finishing chapters, you changed the books and made a whole comment section about it, or at least tried to do it, even if you two didn't follow this rule to stripe, since sometimes comfort in the company helped reading, giving much more chapters than planned while both lose the notion of time and time to rest. On coldest days, you snuggle together under the blankets while sharing a good dark fantasy book or jokes and laugh while reading cheesy fanfics of your favorite works and sagas.

°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°

Mlist!♡

[strqyr]

rwby has been acquired by viz media.

here's some interesting points from the FAQ:

What does VIZ have planned for the future of RWBY? VIZ is exploring the production of new chapters in the RWBY saga and we will make announcements as soon as we can. Has RWBY Volume 10 officially been confirmed? There’s no news yet on a new season of RWBY. Please follow the official RWBY X account and Facebook page for the latest updates! Will VIZ use former production team members in the future? Kerry Shawcross, series showrunner and co-creator, will be involved with the next phase of RWBY. Where will RWBY Volumes 1-9 be available to watch? Stay tuned for updates on where to watch! VIZ is exploring wider distribution for the series, including home video releases, additional streaming platform releases, and more.

[stepintothelimelight]

▄▀▄▀▄▀▄▀▄▀▄SHE CAN GO HOME, BUT SHE’S NOT GOING TO

┊┊┊✧ ⁺ ⁺ 　° i would do

anything

you want me to…. ✧ ⁺ ┊

PART 4 of the Spitfire Saga

TRAILER: A home race that doesn’t feel like home anymore

(2018!f1grid x fem!Genz!driver!reader, max verstappen x reader (platonic), lewis hamilton x reader (platonic) sebastian vettel x reader (platonic))

For more Spitfire content go to my account and it’s my pinned post since tumblr hates me and won’t let me link anything :)

WARNINGS: FAMILY ISSUES, mentioned child abuse, swearing, gratuitous hurt/comfort, reader’s birthday happens before the gp, mention of a suicidal thought, ANGST, barely edited :)

fc: an assortment of female celebs

Aaaaannnnd ACTION!

▄▀▄▀▄▀▄▀▄▀▄

f1

f1: 🇺🇸🦅💥💥💥HOME RACE FOR Y/N L/N 🇺🇸🦅🦅🦅 

 American fans - be there or be 🟦

📍Circuit of the Americas

tagged: yourusername, mercedesamgf1

liked by yourusername, danielricciardo and 637918 others

view 2672 comments 

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You arrive early, per usual, to make sure you have time for every fan, and maybe to catch a glimpse of Taylor Swift, who will be singing the national anthem today.

Your phone call with Seb last night quickly turned into him and Hanna knocking on your hotel room door and enveloping you in their arms. You fell asleep between the two of them, a comfort show playing on low volume in the background.

You hate that it caught you off guard. A small, stupid part of you actually believed that your family - your mother - could love you like they - like she- was meant to. 

It was supposed to be fun. You dressed up, treated them to one of the nicest restaurants in Austin. The second they arrived, though, it all turned to shit. 

At least your fans are majorly little girls and they couldn’t care less if you’re having widely photographed, public arguments with your older brother after a family dinner turned sour. 

Miraculously, you get into the paddock unscathed by prying questions into your personal life. You just get set up in your drivers room for Qualifying and try to put it all behind you. You don’t see Taylor, and unlike any other day, you don’t have the energy to face the paddock.

As you rearrange your hangers for the hundredth time, there’s a knock on your door. You sigh. Most of the team knows that you like your private time before any event, especially your first home race. 

“Yeah?”

The door opens slowly. It’s Lewis. Since the beginning of the season, your relationship with him has definitely developed. He’s good friends with Seb and you have a sneaking suspicion that he has told Lewis to keep an eye on you where Seb can’t. He’s become a sort of mentor-slash-friend and you couldn’t be happier, especially since you’ve both signed on for another few years at Mercedes. 

“Hey.”

“Hey,” you say. 

Lewis sent me this. 

“Did you hear about Taylor Swift?” You exclaim. “How cool is that?”

He grants you a trademark half-smile. 

“Consider it a belated birthday gift.”

You eyes widen and your mouth drips open.

“It was you?”

He shrugs.

“It wasn’t very hard to convince her.”

You hurry over to him, hesitate for a second, then hug him gently. You’ve never hugged him in a normal setting. You break off of him and stand there, not quite knowing what to say next.

“Home race,” He says awkwardly. Lewis is hardly ever awkward. “Big deal.”

“Yeah.” You don’t mean to sound annoyed. Or tired. Or defeated. 

“Family coming? I’d like to meet them. I don’t think I have, yet. “

That’s true. Your mother has been to two Grand Prix since the start of the season and your father and brother one, respectively. They’re busy people, but after last night, some part of you wonders if your mother intentionally schedules conflicts so that they can never make it. 

That’s stupid, she says in your head. We love you. You’re the one who makes this whole thing impossible. 

When they have shown up, you’ve kept them as far away as possible from cameras, and Lewis draws every camera in every room he steps foot in. Maybe your brother is right. Maybe you hide them because of some secret shame you hold for them. The only thing you’re ashamed of is how complicated your relationship with your family is. 

“No. I-“

What?

Sent them home? 

Told them to never show their faces around the paddock again?

Cried into Seb’s chest all of last night wishing I was dead because of how horrible they make me feel?

“Couldn’t deal with them today,” you say decisively. The media might see you as a stone cold bitch, so why not Lewis, too. 

“They’re your family.”

“They hate me,” you whisper, turning back you your hangers. You’ve never said it out loud. Not to Max or Charles, not even to Hanna last night when she was helping you wash your face through swollen eyes and a runny nose.

“I’m sure they don’t-“

“You’ve never met them. My mom hates me. She loathes me and for the life of me I can’t figure out why. I have given her everything and she still don’t bring herself to even like me a little bit. The rest this I’m too independent, too liberal, not liberal enough, too opinionated, too young, too smart, whatever. My dad and his side wish I went to university and my mom’s side tries to chase the fame. It sucks. It didn’t use to be like this, but it is now.”

You spare a glance back at him. He’s wide- eyed. This is probably the most he’s heard you talk without cracking a joke or bursting out laughing.

“Have you told Seb? Or… Max, Charles?”

“Seb, yes. Max would order a hit on my entire family if I told him this type of thing and Charles would hide the evidence.”

What you told Charles at Christmas, he didn’t acknowledge then and there, but he was noticeably cold to your mother when you brought her to see him.  

Lewis studied you, then a look dawns on his face. It’s a mix of dread and fury, but he schools it quickly.

“Y/n,” He says in a very serious tone. “Don’t lie to me.”

Your brow furrows.

“Do they - does your mother or your father hit you?”

It wasn’t the question you’d expected, but it still makes your blood turn cold.

You think for a second, contemplate his expression, run the risks of him exploding if you tell him the truth. 

“No…” you trail off. “Once. I made her mad when I was fifteen and-“ you raise your own hand and slap your face. “Never after though.”

She cried into your shoulder for hours after, telling you just how sorry she was, how she would never dream of laying another violent hand on you again. 

Lewis’s mouth opens then closes. You purse your lips. 

“I don’t need my family,” you whisper. “And I don’t need you to worry about me. I’m fine.”

He gives you a look, one that says:

There’s no way in hell I believe you.

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chalmaxy/nship

chalmaxy/nship: Max and Charles (+Pierre) teaming up to cheer Y/n up 😫 they are sooooo whipped for her (even tho they pretend they hate each other 🙄)

tagged: max33verstappen, charles_leclerc, pierregasly, yourusername, f1

liked by lestappenforever and 4773 others

view 627 comments

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The video starts with the camera fixed on a very angry - looking Y/n. Her brow is set and her mouth is distorted in a flat line, which of course, is to be expected. She was obviously off her usual top-five worthy game today and has earned herself a starting position of P20.

The interviewer asks her a series of questions that she responds to very flatly and emotionlessly, so much so that her press officer elbows her in the side more than once to get an actual, genuinely not sarcastic answer out of her. 

And then -

“Do you think your family issues are the reason you’ve performed so miserably today?”

She stops. Pauses, opens her mouth then closes it again. 

“That,” she drags out bitingly. “was an incredibly stupid and insensitive question. Every question you’ve asked me today has been either completely patronizing or borderline inappropriate.”

She shoots a look at her press officer, shakes her head slightly, then leans into the microphone.

“You’ll understand why we’re choosing to cut this interview short.”

And then she turns and leaves the media pen.

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mercedesamgf1

mercedesamgf1: AAAAAaaaaaannnnnddd she’s done it again! A home race win is yet another thing our Spitfire can check off of her bucket list 💪 

tagged: yourusername

liked by yourusername, f1 and 63720 others 

view 67199 comments 

user6: Admin really said yes she’s a spitfire yes she’s OUR Spitfire 

user7: did anyone else notice how down Y/n seemed up on the podium tho

⮑ user11: Yeah, definitely not the energy we’re used to up there

yourusername: 🖤🖤

⮑user12: girl I need to know the tea behind the story and the tweet 🙏🙏🙏

user7: Call me crazy but she’s the biggest talent of her generation, not Verstappen 

⮑ user8: you’re crazy

⮑user9: @/user8: did we not just watch the same race? 

user10: she’s making the sport annoying.

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yourusername

yourusername: Great home race win guys! 🇺🇸💥💥🦅💥 lovely to share the podium with maxie and lewie

tagged: mercedesamgf1

liked by max33verstappen, charles_leclerc and 738291 others 

view 7329 comments

max33verstappen: Get ready, I’m coming to get you in an hour to celebrate 

⮑yourusername: I can’t drink here dumbass

⮑user13: MaxY/n confirmed???

taylorswift: So glad I finally got to meet you in person! 

⮑ user14: TAYLOR SWIFT WAS THERE AND Y/N DIDNT EVEN MENTION IT???? OH SOMETHING’S WRONG WRONG

⮑ yourusername: 🖤

user15: U go Spitfire!!

user16: Y/n is such a bitch. 

lewishamilton: This is starting to sound redundant, but congrats Y/n!

user17: I still can’t get over how rude she was to that reporter 

⮑user18: EVERY reporter is rude and/or patronizing towards her. She deserves to bite back once and a while

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True to his word, Max knocks on your door. You get up from the spot you’ve been staring out the window and open it.

He’s dressed up, ready to go out drinking, you suppose. You’ve changed into your pajamas and tied your hair up sloppily. 

He arches his eyebrows.

“Ready to celebrate?”

You shrug. 

“Not really in the mood. Plus I can’t drink here. You go ahead, tell the team to send me the bill and I’ll pick it up.”

You go to close the door then. He kicks his foot between the door and the doorframe. 

“Come out. It could still be fun,” He offers. “It’s your home race. I’d be happy if I won at spa.”

He raised his eyes brows at you and you look down guiltily. You should be happy. You’ve broken a record of some kind, you’re pretty sure, and every other driver dreams of winning his home race. 

“You’d be happy because your family would be there to see it,” you say bitterly. “Because then you’d be able to prove to them it wasn’t all for nothing. That you’re not selfish or - or something.”

Max closes the door when he hears your voice tremor. There’s a hard concern in his eyes. 

“Go, Max. You should celebrate.”

“I don’t want to anymore.”

You look him up and down. He’s gelled his hair and put on a non redbull shirt. Obviously he’s gearing up for a big night of celebrating. 

“Tell me,” He says. “You can talk to me. I’m not a stranger to family issues.”

You scoff and flop onto your bed. 

“It’s not a big deal.”

“You love partying. It’s a big deal.”

It’s quiet, except for his slightly heavy breathing. Here’s Mad Max Verstappen, standing at the foot of your bed begging you to confide in him with his eyes. His big, sad, droopy eyes.

You cover your face with the your arm.

“I can’t believe they actually left,” you choke out. “I told them to go and they just … left. The first time my entire family could muster up the time and effort to spend an entire weekend supporting me and they decide to just go home.”

Max moves towards you, hesitates, then settles himself on the floor next to your bedside table. 

“Why?”

You huff. 

“I don’t know. I push them away. I get on my mom’s nerves. I try too hard to impress my dad. Did you know,” you take a deep breath. “Did you know my mother hasn’t told me good night or I love you in five years?”

He sits and stares out the window. 

“Why doesn’t she love me, Max?”

It comes out more pathetic than you wanted it to. Max is probably one of the only people who might get it, just a little. 

“Schat…” he trails off. “I don’t know.”

Max is two years older than you. Sometimes those two years feel like a lifetime. You wish he was a lifetime older than you so he would know.

“Maybe…” He trails off. “Fuck. Maybe some people just aren’t made to be parents.”

You squeeze your eyes shut to try and push down the sobs building in your chest. Max, thankfully, doesn’t react when you let out a soft gasp and sniff wetly. He just sits there and stares out the window

Eventually, you curl up in your bed and Max sits a on the other side (on top of the covers, a safe two feet away) and turn on Star wars (The prequels - he’s a huge nerd, surprise, surprise).

Maybe some people aren’t made to be parents.

Maybe some people aren’t made to be daughters. 

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✧ ⁺ ⁺ Yelled down the hall

but nobody answered ┊┊┊✧ ⁺ ⁺ 　°

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Aaannnnnnddd scene!

DIRECTOR’S CUT: A short and sad angsty hurt comfort type of thing… next chapter i swear will be happier !!

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[opbackgrounds]

The Romanticism of One Piece II: Fairy Tales

Part I Part III AO3

“I long to see the blue flower” --Novalis

In 1812, brothers Wihelm and Jacob Grimm published their first volume of fairy tales. The book was not initially meant to be read as purely children’s stories, but as a collection of tales they felt reflected German culture. They weren’t alone in their study of folk culture and stories, as interest revived throughout the Romantic period, particularly in Germany.

Later editions of the Grimm’s fairy tales, however, were changed to be more suitable for younger audiences. There was something about the stories that captured the mind of a child, and the expansion of children as their own demographic to be catered to encouraged publishers to specifically produce works for younger audiences. I feel like CS Lewis said it best while defending his own use of fairy tales, “He [the person reading fairy tales] does not despise real woods because he has read of enchanted woods: the reading makes all real woods a little enchanted”. The Romantics of this era were themselves enchanted by the power of these stories, and utilized them to great effect in their works.

Romanticism gets its name from the medieval ballads that were popular during the time period, themselves written in the romantic languages. Artists drew heavily from a mythologized past for their paintings, and writers such as Goethe and Novalis wrote literary fairy tales of their own inventions, drawing upon allegory and metaphor to express their philosophical ideals. In 1813 Percy Bysshe Shelly wrote a revolutionary and radical tract in the form of a poem and fairy tale, named after and heavily featuring Queen Mab. These men, along with the Brothers Grimm followed a tradition set by the “discovery” of Ossian, an epic poem that presented itself as the Gaelic equivalent of the Iliad or Odyssey, but was largely an invention of the poet James Macpherson.

One Piece is chalk-full of allusions to fairytale and myth. The manga opens with the grand execution of Gold Roger, his final words the sort of promise that you could easily see becoming a campfire story today, a whispered rumor and legend of impossible treasure for any person brave enough to go looking for it. 

Oda starts leaning into real-world myth as early as chapter 23 with Usopp’s introduction, his name in part derived from the Greek storyteller Aesop and the plot a loose retelling of the Boy Who Cried Wolf, with his trademark nose being a clear reference to Pinocchio. 

When looking at One Piece’s use of real-world myth and story, the thing that strikes me is how often Oda will borrow from the iconography of a story without simply rehashing it. Just about every major arc borrows in some way from real world children’s tales, but you’d be hard pressed to call Oda’s usage derivative. Even with the broad pool of references Oda draws from, the manga never would have lasted as long as it has if he’d just copied from the stories we’ve all heard since childhood. 

For example, on Drum Island Chopper is a clear reference to Rudolph the Red Nosed Reindeer. Much like the Syrup Village before it, it draws directly on the themes of the original work, ostracization and rejection being primary motivators when developing Chopper’s arc. 

But more than that, Hiliruk is introduced entering his unwitting patient’s houses through the chimney, just like Santa Claus, and Chopper’s repeated journeys up and down the mountain using the island’s rope system while pulling a sleigh is clearly borrowing from the iconography of Christmas. But you’d be hard-pressed to find anyone who would call Drum Island a Christmas story, even though it’s set on an appropriately wintery environment. 

There are more examples. Laboon eating the Straw Hat’s ship could be seen as a reference to Moby Dick, Pinocchio, or the biblical story of Jonah, yet Reverse Mountain doesn’t share themes with any of those stories outside of the use of a mythical whale. The Skypiea Saga kicks off with the introduction of shadowy “giants”, before moving to a treasure hunt while befriending a young girl who plays a harp, and ends with the felling of a giant beanstalk. But does anyone really think of Skypiea as a retelling of Jack and the Giant Beanstalk?

My favorite of these has to be Alabasta, since I see so few people pick up on it. The entire climax of the arc involves a devilish crocodile, a man with a hook for a hand, a ticking clock, and the imposing presence of a giant clock tower that looks suspiciously like Big Ben in a setting otherwise influenced by Egyptian archeology. Why or how Oda decided to mix Peter Pan with his epic tale of friendship and betrayal amidst a war on a desert island is beyond me, but he did. 

These examples aren’t only found pre-timeskip. I saw people able to guess who would live and die during Wano based solely on how closely Oda was following various Japanese fables, with broad plot elements being based on the famous story of Momotaro.

Of course, Oda doesn’t limit himself to fairy tale and myth. He frequently draws from history and pop culture at large, or, at least, the pop culture of his youth. Sanji’s design is based on Reservoir Dogs. All the Admirals share a face with Japanese actors. Thriller Bark is named after and directly homages—more than once!--Michael Jackson. Somehow you can have music video references sitting next to yokai, Frankenstein, the Invisible Man, and the Island of Dr. Moreau without cognitive dissonance, because that’s just how Oda writes. The Tree of Knowledge (the ‘of good and evil’ is implied) can coexist with Adam and Eve—which here are also trees—which can in turn overlap with Yggdrasil. The biblical ark Noah can exist in the same island as the Flying Dutchman, while the most biblically-coded of all the sagas can have an ark of its own while drawing many of its names and iconography from Eastern religions such as Shinto and Buddhism. That’s not when it’s drawing on Meso- and Native American iconography and religion instead. And somehow…somehow…it all gels together with the stories of El Dorado and Jack and the Giant Beanstalk.

Once one starts going down the rabbit hole of references and homage it becomes hard to stop. The interweaving of so many references, both obvious and not, while still maintaining an original plot boggles the mind. How Oda got the idea to mix Alice and Wonderland, Power Rangers, Aladdin, and fascist iconography while also turning Sanji into a Disney Princess is beyond me, and in my opinion, a large part of his creative genius. 

But the question remains…why? Why reference Santa Claus on Drum, or Jack and the Giant Beanstalk in Skypiea? Some allusions make sense with the surrounding story, but others seem to be placed at random just because Oda could. 

I think the answer falls back to the Romanticism of One Piece. Oda has said in many different interviews that he writes with an audience of children in mind, particularly young boys. By pulling from the stories of childhood he creates a frame of reference, and because Oda draws from a wide pool of sources that frame of reference can have a more universal appeal, fitting with his world-spanning, swashbuckling adventure. I was never told the story of Momotaro, but I know about the Boy who Cried Wolf. My grasp of Norse mythology is shaky at best, but I recognize the image of a reindeer pulling a sleigh through the night sky. 

As I’ll get into later, the Romantics were obsessed with the innocence and experience of childhood. That was one of the reasons they were drawn so much to fairy tales. To them, stories that were spread amongst the common folk were the most pure form of culture, and it was from these stories that they strove to create a shared identity. 

One Piece is a world-spanning tale, and the stories it references reflect that. But for as different as culture can be from country to country, or island to island, there’s a shared humanity in the stories we tell. A fairy tale will always feel like a fairy tale, whether it’s from Japan or Germany. And by immersing itself in these memories of childhood, Oda carves himself a place amongst these ancient stories 

Marking the end of One Piece’s prologue, chapter 100 draws back from the immediate story to call attention to its own internal myth. Utilizing some Oda boxes quoting Gold Roger, the narrator writes, “These things cannot be stopped. An inherited strength of will, one’s dreams, and the ebb and flow of ages. As long as people hunger for freedom, these things will always exist”.

The name of chapter 100? The Legend Begins. 

This isn't a coincidence. The Grand Line in particular is described in-universe as a land of fairy tales. The Little Garden and Elbaf arcs start with quotes from the explorer Louis Arnot. The cover of Brag Men, where these quotes come from, labels the book romantic fiction. Oda revealed in the SBS for volume 42 that the stories within the book are so outrageous and unbelievable to ordinary people that they’re believed to be untrue, much like the story of Noland the Liar. 

And yet, these are the stories that Luffy goes chasing after. 

Now, I could send an age quibbling over the difference between a myth, a legend, and a fairy tale, but in the case of One Piece there’s enough overlap to be irrelevant. One Piece draws upon fairy tales because in many ways it is a fairy tale. It’s easy to imagine the entire story being told from Usopp’s perspective as he sits around the fire, telling his tale to a wide-eyed audience of children. Whether he’s telling the truth or not doesn’t matter, because it feels true, and for the first time the woods start to feel enchanted. And perhaps it’s that spark of magic that’s enough to stir the imagination of the next generation of dreamers to go out on adventures of their own, no matter how absurd and impossible. 

[littlexdeaths]

trouble in paradise?

older brother’s best friend eddie x fem reader

warnings: angsty angst im sowwy, reader is bit insecure and jealous, implied hellcheer

it’s a recipe for disaster masterlist.

a/n: this takes place right at the end of the car troubles saga for reference! also i’m sorry in advance, we had to spice things up a little bit tee hee. xx.

you knew it was too good to be true.

because there she was, perfect chrissy fucking cunningham.

the girl eddie had been pining over since high school. you knew all about his massive crush on the former cheerleader, since sid had never stopped teasing eddie about it.

you were always a bit jealous of her because of it. with her pretty strawberry blonde curls that cascaded down her back and her gleaming smile that could light up a room.

you’d never be as good as her.

she was giggling at something he said, her fingers wrapped around the meat of his bicep as they left the shop’s office. where not even a few days prior eddie had you pinned to the other side of that door.

but a few steamy make out sessions didn’t secure his loyalty to you. and from the goo goo eyes they were giving each other, you knew you had lost your chance.

neither of them had noticed you yet, which you were thankful for.

you had originally dropped by to bring him a lunch as a small thank you for all the work he did on your car. knowing he rarely ever packed one himself besides a bag of pretzels and whatever he could get from the vending machine in the break room.

you had all but skipped inside the shop, still on cloud nine from seeing him the night before. eddie had snuck in your bedroom after your brother had passed out in a weed induced coma, whispering pretty promises in between the heated press of his lips on yours.

“i want you, sweetheart.” he’d said, brown eyes full of sincerity. “more than just this… i want you to be my girl.”

but those promises clearly meant nothing to him, as he so easily moved onto her no less than twelve hours after he’d been in your bed. and you can’t help but feel so incredibly stupid for believing he really liked you in the first place.

before you can make an even bigger fool of yourself, you dump the paper bag into the trash and quickly rush out the auto shop as tears begin to blur your vision. completely unaware that lucas sinclair had witnessed that entire interaction.

while lucas may not know exactly what’s going on between you and eddie, the look of betrayal on your face spoke volumes.

“yo! eddie!” he shouts, fishing the crumbled bag out of the trash once chrissy leaves the shop. eddie’s name is written across the front in sharpie, with a little heart dotting over the i.

the younger male frowns when eddie’s jogs over to him and he thrusts the bag into his arms.

“really not cool, man.” lucas just shakes his head and walks away.

and eddie is dumbfounded, what did he do?

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