#and this all depends on the person

[the-outlande-r]

hearing my friend talk about her roster sounds so outlandish to me. like im glad for you bbg and it's so interesting but i don't think i can even imagine being in that same headspace. i can maybe like someone like once a year

[dietmimo]

He has bills to pay and a child to feed. He is doing his best.

Please be kind.

[princyvish]

oops! all gay!

[bacchuschucklefuck]

we let the ocean drown out our voices/enjoying the bitterness/in the chaotic light, I close my eyes and see

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 3: Enveloping Feelings.

(Part 1, Part 2, Part 4)

[corsairspade]

there are many reasons I like the "Erestor son of Caranthir" headcanon but secretly the main one is that I'm imagining all of the remaining noldo auditors sighing of relief when Caranthir dies and they don't have to try play 4d chess with multiverse time travel trying to catch this guy doing tax evasion. life is good for exilic auditors now.

and then suddenly Elrond and Elros turn up again! even better! oh who's this, Elrond? your good friend Erestor? he's helping you with your taxes? oh how swe- what is this Elrond. What is this. your paperwork for your taxes you say. not a declaration of war? because it looks like a declaration of war on the exilic auditors, Elrond.

and then all the auditors are so busy doing "extreme tax auditing™" for the first time since the second Kinslaying that they don't tell anyone they're pretty sure there's another scion of the house of Fëanor running around.

[evilherehotel]

ok admittedly they are startign to grow on me

[feal-the-grinch]

Agatha's quiet pleading here is killing me. Mouth agape, she shakes her head. Agatha knows why Rio (Death) is here, she feels it, yet, her disbelief is clear, and she still holds hope Rio won't do it.

But then, Rio takes a first step towards her, and then another. The next shot shows Agatha realising that Rio is going to take their/her child. The only person who has ever loved her is going to take away the little being Agatha already loves with her entire heart and soul...

It's no wonder Agatha's defences went up right after. In her eyes, from the moment Death took those steps towards her, Rio chose her job over Agatha and Nicky. From that moment on, something broke between them.

[bunnithechubs]

just a few short hours... surely angela can hold it together....right?

[ihavesomejays]

text transcription:

Many springs ago, I perceived a sea of flowers upon a lake. I thought to myself that those fleeting colors held indescribable beauty.

The next time I perceived those colors was many years later, when the medic’s tent had blinded me to all but red. The radiance of that shining star was lost on my eyes.

Now, my eyes no longer perceive the subtleties in the colors around me.

But I am content.

For I can now see the most brilliant colors in my universe.

anyways yeah why did they fucking do that to jiaoqiu bro

the planning for this experimentalish comic is under keep reading

[dabeth-is-dead]

So, Gillian Anderson is slightly taller than me and every time they have a scene where she stands next to David Duchovny without the Scully box, this is all I can think of:

[senvurii]

real ones remember dsmp festival ctommy

[scliffe]

This is quite a subjective opinion; but I am endlessly fascinated by how the romanticization (or sentimentalization) of Sebastian and Ciel’s relationship is such a big, important part of Kuroshitsuji—partly due to Sebastian’s own nature as a demon, but also due to Ciel’s character himself.

Sebastian is evil, and he is meant to lure people into damnation. He is the embodiment of a poisonous yet appealing temptation. He speaks sweet, gentle words. He is undeniably physically attractive, and generally, people find him charming. I can go on forever, but you get the gist; all of him is designed to slowly attract and lull people into complacency with him—into not seeing the predatory nature that lurks beneath that gorgeous skin.

This powerful creature, who can kill people with his bare hands, prefers to use sweet promises over threats—finding physical torture less effective than honey; so confident in his ability to understand human desires and tempt any person into the route he designs for them. He presents people with two choices; one of which seems infinitely more attractive than the other—but would certainly lead them to damnation. And it delights him very much when they inevitably chooses the sweeter option. It seems to be essential to the demonic contract that the contractor gets to choose (even if the choice was most likely—almost always—highly uninformed).

Now; if the contractor was an unassuming human who was tempted or fooled by the demon, or if the contractor was someone who’d kill and sacrifice another person on purpose, maybe we would say, “Well, he did that to himself.” Or even, “He deserved that.” But not only did Ciel manage to summon Sebastian by happenstance; he—arguably—did not have much choices other than to agree to the contract; it was either the contract or death at the hands of the cultists.

His consent was highly dubious (not that Sebastian ever cares); he was in a state of emotional distress—unfit to be making choices that would define the rest of his life—not to mention his youth, his vulnerability, and the glaring power imbalance with the predatory adults and demon surrounding him. From that moment on, his soul is forfeit; no matter how many times Ciel states that he is firm on his revenge and that he is doing this for himself—you can always argue that he is only saying this because the choice is either this or death.

Still, instead of highlighting the dubious nature of this agreement, the author shows that despite his young age, he is perceptive enough to read through Sebastian’s lies and see Sebastian’s true nature for what it is, and still “chooses” to have the contract. The author repeatedly, over and over, shows Ciel “choosing” this road for himself, Ciel saying that he has no need for the past and will not look back—and the whole time that Ciel charges unwaveringly into the darkness, Sebastian looks at him and smiles meaningfully.

Since we have no idea what “souls” present in Kuroshitsuji; the concept of what Ciel is actually paying with in order to get his revenge is exceedingly vague—it’s difficult to feel loss over something with an unknown value. This is exacerbated by Ciel’s easy acceptance of his own fate, and the practical logic on how it’s simply fair to pay a servant for his services.

Sebastian, for his part; always revels and delights in how Ciel chooses him. He basks in it, and gloats about it; the dubious nature of Ciel’s agreement forgotten, or frankly does not even seem to compute in Sebastian’s mind. What’s important is that Ciel made a choice; and that choice was Sebastian. We know that Sebastian will eventually kill Ciel, but we may contend that Sebastian is good for him. Sebastian saved Ciel and Ciel consented to having Sebastian. Sebastian gave Ciel the autonomy and independence and protection he desperately needed. And this does not come out of nowhere; as the author too, seems to deliberately romanticize/sentimentalize their relationship—the readers are simply picking up on the context cues.

They are certainly predator and prey; but people may love their appeal as a pair of lovers, like Bonnie and Clyde; or as found family along with the rest of the servants; they are partners-in-crime; soulmates; always understanding each other with just a glance, simply meant to be together, there is no Ciel without Sebastian and vice versa, etc.; it’s all a terribly romantic and sentimental view of their relationship.

The portrayal of Sebastian as a loyal and caring protector (although he is always hiding his hunger and fangs) and Ciel as a brave and pitiable victim resolutely seeking justice (although he arguably never had much choices) are done on purpose to allow their relationship to be romanticized/sentimentalized by the readers who want to root for them. If Sebastian was not portrayed attractively enough; if he wasn’t a handsome, gentle caretaker, who is devotedly loyal to Ciel and protects him from kidnappers and assassins and whatnots (see how he treats Ciel so much better compared to Ciel’s fellow humans?), this romanticization of him will not be possible. Likewise, if Ciel was portrayed as an innocent run-off-the-mill ten year old—instead of a smart one, a perceptive one, one who is “mature for his age”; if Ciel was a regular noble instead of the Queen’s watchdog; one who is meant to be the Earl of Phantomhive despite being born as an underdog (which makes the readers want to root for him and believe him to be capable of besting a demon on the negotiation table)—we will not be reading the contract scene and thinking, “Can he outsmart the demon?” Or even, “Well, certainly this ten year old understands what he is doing.” We would have instead understood the contract to be an exploitation of the child’s vulnerability and circumstances. Instead, Ciel is portrayed as wanting the contract; willing to sacrifice his soul to get his revenge; a fully-consenting party in a mutually beneficial agreement. When Sebastian offers his hand, Ciel consensually places his own hand in Sebastian’s.

What is truly “good” for Ciel becomes a moral dilemma that the readers cannot solve, and Sebastian’s true “feelings” (or whether he has any at all) is never explained. The readers are left to guess and come up with our own theories that will remain unanswered—we insist that Ciel needs and wants Sebastian, that Sebastian cares for Ciel beyond seeing him as food; and the whole thing is so morally dubious, but we are given a lot of incentives to see them in a positive, sentimental light. Every once in a while something may happen that seems to reinforce our beliefs in their relationship, but never fully confirm how they feel towards each other. The occasional “warning bells” reminding us of Sebastian’s nature as a demon are—more often than not—ignored, as the future when the contract ends still seems so far away, and regardless; Ciel is far too dependent on Sebastian to even think of living without him.

[fromdarzaitoleeza]

I read Kafka ,dostoevsky ,sylvia plath, virgina Woolf and camus I hope you won't have a problem dealing with my personality

[geraskierfanficprompts]

Prompt 71

The other witchers at Kaer Morhen have always grown tired of Geralt's random moodswings and bouts of gloom and grumpiness during the winter. He'd be happy and carefree, safe in his home, and then some dark thought would crest in his mind, and for a few days straight, he'd be in a horrible mood. When one year he brings his bard with him, they realize the moodswings have disappeared completely. That is, until Jaskier starts trying to "bond" with them all and spends less time with Geralt. Then all of a sudden the snarls and snaps from Geralt are back. One day, Lambert gets tired of Geralt's sass, and shoves Jaskier at him, and they're all amazed when Geralt loses his bad mood and instead chooses to carry his bard off to cuddle in front of the fireplace. Nuzzling him and purring the whole time. Thus commences a new rule of Kaer Morhen. If you spot Geralt being pissy, you chuck the bard at him. Jaskier has been taken away from a meal, a game of gwent, his chores, his bed while asleep, and one especially embarrassing time he was taken from a bath. Jaskier is quite alright with the new rule, as it always ends in deligthtful Geralt cuddles, but sometimes he wishes Geralt would just find Jaskier instead of moping when he misses him.

[vaguely-concerned]

tiny animation detail from this scene I really like: rook glances towards the locations of lucanis and bellara's rooms (and possibly where they're most likely to be found in this moment?) respectively when they deliver this line!

(honestly I expect that lucanis is hanging out somewhere other than the pantry during this to give everyone in this unfolding catastrophe some space, but consider: it's so much funnier if he IS sitting in the pantry hearing this all go down on the other side of the wall like

taash stomps in with thunder and trepidation in their eyes like 'hey. I need vegetables. can we make vegetables happen.' and lucanis already handing them a lettuce and tomato like i gotchu fam this is literally the only thing I know how to do for you in this situation go with the maker and these salad ingredients I resignedly already know you'll just put on a plate with no dressing no spices no nothing. just the most sleep deprived caffeinated to the point of vibrating gently in place awkward-yet-painfully-well-meaning man in the world standing there before his friend about to have one of the most difficult conversations of their life like '...can I offer you a turnip in these trying times' while rye desperately treads social water out in the dining room to buy time. amazing. our lives really all do touch each other. headcanon passionately embraced)