#but also so incredibly down bad

[skitskatdacat63]

Deeply unwell 2 am behavior when I blast Closer on repeat and download Fernando pictures 🫠

[inkskinned]

there are a lot of posts out there that are positive and healthy coping mechanisms for handling the holidays. this is not one of them :)

i think there's like. going to be times in your life you will be stuck in a social situation that you cannot escape from gracefully. i do not know why the internet doesn't believe these times exist. it's not always just that your physical safety is at risk - sometimes it's legit like "i just don't currently have the energy or time to put in the effort of responding to this." sometimes it's a coworker you hate so much. sometimes it's just like, fine, you know? like you know you can handle your aunt when she's cheerily horrible, but if you actually set a boundary around her, it's going to be weeks of fallout with your father.

i don't know why people think the answer is always just "cut them out!" or "don't let them get away with that!" because ... the real world is tricky and complicated. i think kind of a lot of us have an internal "radiation poisoning" meter for certain people. like - i'm talking about the ones who are absolutely giving you gradual ick damage. like, you can handle them, but you'll be exhausted.

and yes. you absolutely should listen to your therapist and the good posts about handling others and set good boundaries and take care of yourself. prioritize peace.

HOWEVER :) ...... since im often in a situation with a Gradual Sense of Ick person i cannot just "cut out" of my life (without losing someone else precious to me) - i have sort of developed the most. maladaptive form of mischief possible. because like, if i'm going to have to listen to this shit again, i like to have a little bit of private fun with it.

now! again, i am physically safe, just mentally drained by this man. you should only do this with people you are not in danger with. which leads me to my suggestions for when your Unfortunate Acquaintance shows up and says oh everyone pay attention to me.

my favorite word is "maybe!" said as brightly and happily as possible. whenever the Horrible Person starts in on a topic you do not want to go further with, particularly if they make a claim that you know to be inaccurate, do not respond to it. you and i have both tried to actually argue with this person, and it hasn't gone well, because this person just wants the drama of an argument. however, "maybe!" gives them literally nothing to go on. it is incredibly disarming. they are used to people having some response. they know they can't prove what they're saying, and maybe! treats them like the child they are. it dismisses them in the politest way possible.

i like to say maybe! and then, in their stunned silence, immediately change the subject. this is because i have adhd and i will have something unrelated to talk about, but if you can't think of topics fast enough, i recommend just pointing to something and saying, "isn't that lovely?" because fuck you let's bring in some positivity.

by the way. that second trick - of pointing to something and stating an opinion about it? - that just works on its own, like, 70% of the time. i picked it up from teaching preschoolers. it's an intentional "redirect". it stops children crying and it also stops grown adults from finishing their explanation on why women belong in kitchens. dual wielding!

keep it silly for yourself. i absolutely do not care if people think i'm fucking stupid (it's more fun if they do) and as a result i will purposefully misunderstand things just to see how long it takes them to realize i've completely removed them from the subject at hand. when they say "women aren't funny" i get to be like. "which women." "all women." "all women in america?" "no in the world." "like the mole people? the people in the world?" "what? no. like, alive." "oh are we not counting the mole people?" "what the fuck are you talking about." "you don't believe in the mole people?"

similarly, i play a personal game called "one up me." my Evil Acquaintance literally knows this game exists (my family & friends caught onto it and now also play it) and it always fucking gets him. i don't know why. you have to be willing to be a little free-spirited on this one, though. the trick is that when they make one of those horrible little bigoted or annoying comments they are always making, you need to go one unit weirder. not more intense, mind you - just more weird. "you don't look good in that dress." "yeah, actually, my other dress was covered in squid ink due to a mishap at the soup store." "you shouldn't wear such revealing clothes." "wait, what? oh shit. sorry, your son tears off strips when no one is looking and eats them. i swear it was longer before we left the building."

the point of "one up me" is to completely upend this person's narrative. we both know this person likes setting up situations where you cannot "win" and then they really like telling other people how badly you handled it. in a usual situation, if you respond "please don't say something that rude", you're a bitch. but if you let it happen, you're letting yourself be debased. they are not usually expecting door number three: unflappably odd. because what are they going to say when they're telling everyone how badly you behaved? "she said my son eats her dresses" ".... okay?"

if you can, form an allyship with someone whomst you can tagteam with. where they can pick up on your weird "soup store" story and run with it.

the following phrase is amazing and can be deployed for any situation: "oh, be nice :) it's the holidays!" i do not know why this works as often as it does. i'll say it for the most random shit. i think this is bc most of the time these people know they're being impolite, they just like to fight.

godbless. when in doubt, remember that you could always start stealing their pens.

the whole point of this is - if you can't escape. maybe see how long you can just be. like. a horrible little menace.

[edwinisms]

george rexstrew deserves awards for many things but i have to say. edwin’s bloodcurdling scream as niko gets killed deserves a whole award unto itself. like. that scream did not feel at all like a tv show scream. to a somewhat jarring degree. and i can’t express how much I respect that

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[uncanny-tranny]

Whenever people who are entrenched in diet culture talk about how terrible chemicals are, I just want to whip out this:

[ganondoodle]

so with echoes of wisdom .. i havent watched any of the trailers beyond the very first one and the thumbnails/screenshots and what others have said about it-

but with the world inside the rift being called "Welt des Nichts" aka "world of nothing/void" in german ('still' in english, for some reason) and demises title in french being "avatar of nothing" ... yeah my anxiety is shooting through the roof again

(hopefully you can be a little more forgiving for me being anxious/weird about it bc demise is my blorbo)

i had similar worries with totk, that werent proven true thankfully, but the darn book is making it all worse again with all those weird lore things the game doesnt even so much as hint at AND potential retcons- im in for a really rough time huh, not just stress in real life (more in tags.. its alot) but now about my specific hyperfixation from two things even (AND artblock still..)

weird as it may sound, i dont want demise to get more lore, partly bc i dont believe theyd do anything with him that i would like (given their track record) but much more importantly- the fact that he has this little lore about him is precisely one of the reasons why i fell in love with him, i tend to like characters that are neglected by the narrative, and his story being both so flat and already done meant i can be very creative with what i come up with for him without necessarily contradicting anything in canon (which is ... or was a big point of how i wrote destiny's story and lore, working with canon in a way that reframes it all without straight up ignoring it ... but i suppose i urgently need to let go of that and accept i spend alot of time working things that will go to waste :( ) AND not having to worry that there will be more stuff with him that would massively change not only what im writing but also potentially how i feel about him since the game he was briefly in was the oldest chronologically and ended with his death- i didnt expect them to mess with anything that far back and thought theyd just go forward and leave the timeline behind and wouldnt mess with it again, given how botw seemed to be a sort of 'fresh start' that seemingly regarded the past as the past that needs to rest and that the timeline was finally no longer a discussion if everythings unified through botw and one thing going forward

but i suppose i was very wrong with that .__.

right now the only thing that motivates me still is the left over determination and spite to work on my zelda comic, since i have never gotten this far and really want to get something done for once, but i cant lie that im feeling like i should pause all work on it too to wait and see waht the book and the new game will do .. either to determine if i still have the will to keep working on it after those things are out (my love for tloz has been taking alot of hits lately ..) or if i have to change stuff (mostly bc of my lore problem trying to not ignore it ..)

[ginpotts]

Minato Shouji Coin Laundry 2 🧺 Episode Three

yukata shopping date aka free time for shin to stare adoringly at akira in a yukata

Bonus: akira staring adoringly after shin in a yukata too

[violetsandshrikes]

how do you help so many different kinds of people? i have noticed you know about lots of different things and meet lots of different people. i want to do that but i cant figure out how? /gen

A little bit of background is probably needed:

I have had people ask me this before, and honestly I had a little bit of a cheat code. While my life has been filled with a lot of trauma and bad shit, I was raised by a mother from an incredibly leftie family who walked the talk when it came to values and doing the work.

She had a lot of ideas imparted on us from a young age: social and community responsibility, ideas of collectivism, eduction. Even as a poor, trapped young mother, she was believed that many people behaved badly based on ignorance outside their very limited bubble, and that when life became difficult economically or socially, people would immediately point fingers at groups they knew little about or saw as distinctively different in order to have a blameable target.

From about 4-5, outside typical schoolwork, my mother also taught us about the world. This included different conflicts and genocides (which may sound horrific to some people, but basic information and explanation was given, and then it got more in depth with age), different countries and cultures (often she would randomly select a country from a world map, and we would spend a set amount of time learning everything we could about the place, culture, people, etc), different religions (I attended many different types of religious institutes at least once, and my mother often found people willing to talk about their belief system with us), volunteering, etc.

I have definitely had a head start and a lot more guidance than many people, which I am incredibly grateful for. It can also make it difficult to advise though.

Realistically:

Honestly, the two best things you can do if you don’t know where to start are: listen and learn. Find any local group, start participating and volunteering. Listen to the stories of people there. Ask questions. Expose yourself to all sorts of different ideas and opinions.

In the last year, I’ve started doing a little throwback to my childhood. I have a schoolbook, and I choose random topics, and spend a few hours every week learning basic things about it. Choose a country, choose a place, a time in history, a religion, a culture, a people. You don’t have to be a scholar. You just have to expand your horizons.

As you get involved with more things, you will begin to narrow down your core values. This is good: you can’t do everything at once. I would say roughly 2-3 core issues or topics you care about is good (this doesn’t mean that you don’t care about things happening outside it - it just means you don’t spread yourself thin). There’s different things people make their focus: LGBTQ+ issues, BIPOC issues, environmental issues, homelessness, disability, refugee issues, etc. Your core focus will be the ones you feel most passionate about, which is good, because it means you will put in genuine work and care, and you will lower the risk of burning out fast and being of help to no one, including yourself.

You also have to get comfortable with the fact you will never be perfect. You will never be up to date with every idea and practice. There is always something you will need to learn or unlearn. Becoming rigid about being correct all the time will make you more of a menace than a help to any reputable movement or group. You might feel uncomfortable when you realise the gap or misunderstanding you had - that’s normal. Be open to learning and expanding your understanding of things vs burying your head in the stand stubbornly. I say things and then months later I realise that actually, I don’t agree with that anymore, or my understanding has deepened, or changed, or pivoted. This tends to make people feel very bad or uncomfortable, but you have to get to the stage where again, you acknowledge that that’s normal.

[gayciate]

🎃 HAPPY HALLOWEEN!!!!!

I have to post some Encanto Monster AU Headcanon jumpscare right now!!!!! Not everyone, but a few of them!

Isabela - Werewolf (Or, Werejaguar rather) + OK OK OK Hear me out on this one, see my vision????? Most of the time, she looks largely normal with "cute" features that many find appealing like the little kitty ears, fangs, and tail + BUT were-jaguar form is absolutely shit your pants terrifying horrific, something she was made to feel ashamed of for its wildness and unattractiveness + Spends pre-movie full moons fully barricaded in her locked room, tangled up in her own vines to keep herself contained - everything she bottles up comes out and is entirely out of control, her wild side is trying sososo hard to get out and she's literally, physically restraining it + Always ends up with an absolutely shredded room the night after the moon, snaps at anyone who ever mentions it or attempts to help her out + Post-movie after she comes to accept every part of herself and grow into her own, she starts to gain control over the beast form and spend more time in it willingly, no longer ashamed of looking "ugly" or acting as anything less than perfect

Luisa - Gargoyle + A powerful stone guardian that guards the family home restlessly + She doesn't actually need to sleep, but does go into a dormant "statue" state when exposed to direct sunlight. + Incredibly physically sturdy but not immune to damage. She can crack and break, though her pieces can be put back in place if they fall + It is debatable if she can feel pain in the same way more flesh-based beings can. She does not need to eat or breathe and cannot drown + While she has wings, she is too heavy to properly fly and uses them more to shield others from danger or glide short distances

Mirabel - Satyr + A real silly billy, she's got the fuzzy legs of a goat and little tiny horns under her hair + She's very musically inclined and can play several different instruments. She's creative, clever, and loves to frolic in the sun! + Her charisma stat is absolutely off the charts, others often find it very easy to relax around her as her monster species is not particularly threatening or associated with danger + Often faces underestimation and struggles with not being taken seriously. Her lack of scariness coupled with her inhuman nature can be a cause of direct bullying that more threatening monsters may not have to deal with.

Dolores - Vampire + Oppoisite Isabela, she's a little withdrawn and shy, probably has big ole' sensitive bat ears with perfect pitch detection + Veeeery sensitive to light and sound, she enjoys the quiet of night and often sleeps during the day + She can turn into a little bat and flutter around, but sometimes forgets she's easy to miss like that and jumpscares people who thought they were alone in a room + She's capable of sitting in complete silence for extended periods of time and is extremely patient. Her night-vision is impeccable. + Rumors have spread that she can read minds and has some psychic abilities, but these are entirely unfounded. She's just perceptive and very nosey.

Camilo - Changeling + A funky fey dude, taken in as a baby by Pepa and Félix when he was found abandoned in the wood + He's strongly attuned to magic in the environment and specializes in illusionist tricks + He has pointy ears, sharp teeth, and unnatural eyes that reflect light in the dark but shifts to a more human look most of the time to blend in with others + Quietly a little insecure about what he really is when he looks in the mirror without a disguise but tries not to dwell on it for too long

Antonio - Chimera + A strange little mix of creatures, he's got the upper half of a human with the lower half of a jaguar. He's also got the wings of an Andean condor, ears of a tapir, and an anaconda's tail! + The little dude climbs, flies, and swims - he's an ATV with endless energy who loves to shove himself into tight spaces to explore + Outgoing and a bit wild, he easily befriends other animals but sometimes finds people wary of him. He is very careful with his claws and fangs, but parents sometimes worry that he'll play too rough and hurt their kids. This makes him very sad! + Incredibly intelligent and inquisitive, he is active for long periods of time before collapsing into a nap and restarting the cycle

Bonus Augustín & Julieta - Headless horseman and Parrot Harpy I think Augustín would be like the headless horseman and constantly (literally) lose his head and Julieta would be a parrot harpy with colorful, blue plumage - incredibly intelligent and caring for her kids

[zentriii]

Kiyoomi scrunches her nose. She’ll never get Motoya’s obsession with plants. It was fine when it was just succulents, those are easy enough to take care of, but flowers fucking reek.

It’s not a bad smell per say, but it’s stupidly strong in this shop, even with her mask up. They’re pretty at least, she’ll give them that.

She’s debating between the pretty blue flowers and the silly, warm yellow ones. Motoya should have never trusted her judgment, how’s she supposed to resist the urge to tease her for always being in a yellow coloured team? At least Kiyoomi can say she’s escaped it in the Black Jackals cause gold isn’t yellow.

“Is there anythin’ I can help you with?” A pretty blonde girl in a red apron asks. Kiyoomi nearly jumps out of her skin, where’d she come from?

“Um, can I get these?” Kiyoomi points at the two, ready to bolt out of here because Employee Girl is way too gorgeous for her to not make a fool out of herself. Her palms are sweaty and she’s so grateful her mask is covering half her face.

The girl leans in way too close to Kiyoomi’s space and reads the labels, “Cornflower and fressia? I can put them together for you but d’you wanna check out the white freesia’s instead? They’d be real pretty together.”

“Yeah, sure.” Kiyoomi could be asked for her credit card information right now and she’d hand it over no questions asked. What did she ask her for again?

“Great, they’re over this way.” Employee Girl walks away and what else is Kiyoomi supposed to do but follow?

The flowers they stop at all look the same to Kiyoomi but she holds her breath as the girl talks about a few different ones, pointing them out and saying stuff about how pretty things look prettier together. Her name tag reads “Miya O.” A pretty name for a pretty girl. She wonders what the O stands for.

“That sound good?”

Kiyoomi nods, Miya’s voice sounds great in fact.

“Well you’re in luck! We finished our orders for today so I can put it together for ya right now but please submit a request a few days in advance next time. We’re pretty busy during the afternoon so ya picked a decent time to come in.”

Miya picks a few different flowers and the blue ones from before – the cornflowers – and heads to the back. Kiyoomi wants to protest but she’s just a customer and Miya’s an employee doing her job.

Miya peeps her head out after closing the door. She bites her lip before calling out, “Can I ask ya for a favour?”

“Uh, sure.”

“If ya see a girl with my face try an’ clock in, tell her she’s s’pposed to be in bed right now. My sister’s a bit of a workaholic, I stole her name tag this mornin’ for her own good.”

She assumes Miya means that she’s a twin but that’s not fair to her at all. She’s just a girl. Kiyoomi only hopes she won’t have to see the two of them together. One pretty girl’s bad enough for her heart as is.

The time passes by in a blur. At one point she’s keeping a vague eye out for Miya’s clone to walk in while looking at the different flowers; the next she’s being given her bouquet, paying for it, and waving bye to the prettiest girl in the world.

Oh well, it’s not like she’s the main character in a yuri manga.

Kiyoomi drops off the flowers at Motoya’s. She’s supposedly too busy taking care of her sick girlfriends to make the trip herself. Kiyoomi wonders if that excuse is just bullshit since it’s been months and she’s still not met Osamu and Rin yet. Unfortunately, Motoya’s apartment’s stuffy and reeks of sickness so maybe there’s some truth to Motoya’s words.

Maybe.

“You got the flowers?” Motoya closes her room door behind her, thankfully right before a loud sneeze is released by one of her definitely real girlfriends. Well there goes that bet Kiyoomi had going with Yachi.

“Yeah, I still don’t get why you can’t have a normal hobby. These things die in like, a week.”

Motoya fusses over the flowers for a bit, making them nice and pretty in a clean vase that held her last bouquet. “One, Samu gets all blushy when I give her flowers and two, I just like them. It’s low stakes responsibility that forces me to have my shit together.”

Kiyoomi snorts. Motoya’s always had her shit together, even if it looks like a mess on the outside. Her cousin is one of the most ruthlessly competent people she knows.

“Hey Kiyo, where’d you get these by the way?” Motoya asks cutting the store tag off a stem.

“Doesn’t it say there?” Kiyoomi asks. “Miya’s Boutique I think.”

“Well whichever employee rang you up left you a little something.” Motoya tosses the label to her with a smug little smirk.

Kiyoomi wants to shove her hand into her face to wipe it off, but Motoya would lick her first and she doesn’t want to think about where her tongue’s been, sick partners or not.

She takes a look at the what Motoya meant and pretends like the name and numbers aren’t sending a rush of blood straight to her face. She carefully tucks it into a pocket while maintaining eye contact with her menace of a cousin. Motoya can smell the smallest twinge of embarrassment in a crowd and she is not to be trusted to mind her own business.

She laughs at nothing, like the airhead Kiyoomi’s always known her to be, but there’s something unsettling in the knowing glint in her eyes. Kiyoomi firmly ignores it: if it isn’t acknowledged, it isn’t real.

“Oh this is killing me, Kiyo you’ve gotta come over next week. Please I think I’ll die.” Motoya abandons her flowers in favour of hanging off of her arm and giving her stupid puppy eyes. “You can bring whoever left you their number. Actually, please bring them, you’ve gotta.”

Fuck, how’s Kiyoomi supposed to say no to her puppy eyes.

“Fine, but fat chance I bring her over.”

Motoya sniffs hautily, like Kiyoomi’s doing her a great disservice. “You’ll regret it.”

“Doubt it,” Kiyoomi sighs, hoping future-her doesn’t give in to Motoya’s ridiculous demands.

She leaves with a halfhearted wave, feeling preemptive disappointment in herself because she knows Motoya’s not going to let her go so easily. Whatever. She’s got better things to spend her energy on.

How many i's in a “hi” is too desperate to send?

[im-fucking-baalin]

ohhhhh i am COOKING

[skitskatdacat63]

2010 Australian Grand Prix - Jenson Button(ft. Robert Kubica & Felipe Massa)

[akkivee]

🙂↕️🙂↕️ ‘kay so this was a pretty hard track for me to digest lmao

it was a lovely drama track, we got to see jyushi stand up for himself and see him rewarded for that bravery, when hitoya’s struck with uncertainty, he turns to music and asks turns to his brother for guidance as well!!!! *crying* we also got kuukou’s path for his buddhism laid out flat, like he says so himself he wants to guide others, to not be a reclusive monk but one that believes in the power of staying true the self and believing in others

i just wish bat were pushed a little more out of literary parallels land 😭😭😭 there wasn’t a hint of chuuoku in the track, much like bb’s, and kuukou came to the conclusion that you have to end the cycle of violence and that’s why he’s fighting in the drb, a similar sentiment to both ichiro and samatoki, and if you think about it, to otome overthrowing the government to end violence. like the chuuoku parallel is now blatant!!!!!! i just wish they had something from chuuoku to get them there 😭😭😭😭

[greasydumbfuck]

watched the 2004 punisher movie yesterday with pixie and honestly i had fun 👍 some stuff was good some stuff was eh some completely irrelevant stuff made me mildly annoyed. but most of all it was funny and they had frank hang around with his tits out for multiple scenes so i mean how could i not have a great time tbh

[scoopstomyahoy]

thinking about a no upside down au steddie fic where steve and eddie run into each other years after moving away from hawkins, and eddie remembers steve and his fall from grace as king, and is kind of intrigued to see what kind of person he is now

and steve doesn’t remember him at all at first, because, look, eddie changed his hair again, and steve’s had a few head injuries (no upside down but i imagine he still went thru some shit with the party and with robin), and he didn’t really think about eddie in high school anyway, and he’s trying to forget about hawkins as much as possible (besides the kiddos, but they’re all moved out for college now, anyway) (obviously he lives with robin)

but steve is different now, happier, more open, flirts with guys, flirts with EDDIE, and eddie….. well, he wants to know more! and he tells steve he knows him from hawkins, and steve’s sunny little smile flickers a little, but he just apologizes for not remembering him and mentions he has some memory problems

and they get to know each other, and eventually as eddie tells him more (and maybe with the help of some yearbooks) steve remembers eddie. and. well. they like getting to know each other. and they like each other. and then they get together

eventually they’ve been together for a while, and eddie thinks he wants to maybe introduce steve to wayne, and he mentions he’s going to go back to hawkins for a long weekend (as he’s done a couple times) and this time he’d like steve to join him

and again steve’s sunny smile flickers a bit, but he says he’d love to meet eddie’s uncle, and… they go to hawkins. and it goes well— meeting wayne, at least, but steve seems a little on edge the whole time they’re there, tense when they drive in, fidgety when they go to the grocery store, et cetera. eddie thinks maybe steve is nervous about staying with the man who raised eddie, which is ridiculous, because wayne LOVES steve.

it’s not til they leave the town altogether that steve relaxes, and eddie realizes it wasn’t “meeting the parents” but rather going back to hawkins. and speaking of meeting the parents, steve didn’t ever bring his own up, even though eddie knew they still lived in hawkins. and the way steve glanced around whenever they went in public, like he was scared of getting recognized

and he asks about it, and steve doesn’t really want to talk about it, but he gives eddie snippets of it. people he wanted to leave behind in hawkins, memories that resurfaced, things he wants to forget

eddie goes back to see wayne sometimes, and the first time he doesn’t know whether to ask steve to come, so he just mentions he’s thinking about going to hawkins for some weekend and steve immediately starts making plans with him as if the invite is implicit. they go back to hawkins several more times, steve still tense and pent up the whole time they’re there

over time steve reveals more and more to eddie. everything that made hawkins hell for him, from the things he himself did in high school to the things people did to him. stuff tommy and carol and billy said to him. some of it is just typical high school bullshit (and oh, the nancy thing.) some of it is the tragedies steve went through, the horrors he had to protect his kids from. the injuries he sustained. more generally the homophobia that permeated the whole town, keeping steve from being himself. the lack of support in the indiana public school system for a high school senior who’s had two concussions and gone through incredible trauma.

his parents. the reason why steve’s mail is addressed to ‘steve buckley’ now, not ‘steve harrington’.

(that doesn’t come out until much, much later, and eddie is kicking himself for ever suggesting steve come back to hawkins.)

eddie, who hardly had an easy time of it in hawkins, is absolutely blown away by what steve had gone through in the same town, right under his nose. the entire persona that steve was trying to leave behind — the cool as a cucumber, unaffected, douchey mask he wore to hide all that he had endured. the head injuries. the emotional tragedies he had gone through. the way he had to be the rock for the kids even as he went through the same things as them.

he tries to tell steve they never have to go back to hawkins again, and steve is having none of it. he tells steve wayne can come visit them in their new city, and steve thinks that’s completely unfair to the man who had raised eddie, seriously, you’re going to make him come all the way up here?

and well i don’t know exactly what the ending is but steve is so stubborn about trying to love hawkins because it was eddie’s home and he wants to be able to go see wayne because wayne deserves to see his kid and eddie deserves to see his uncle and steve doesn’t want to be the problem :(

[karamazovanon]

draw Pyotr topping Stavrogin