#captain's logbook

[dxppercxdxver]

day four!! of bweirdOCtober!! underappreciated oc day!!! wrote a little ficlet about gertrude, our favorite kittycat who is the worst in the world to look at and touch and be in the presence of generally

steep road, high and weary

The foul creature enters their lives when his incorrigibly curious sister pulls it from a bag of grain in the train car they’ve stowed away in.

When Aoife first presents the thing to him, Brendan thinks she’s somehow caught and plucked a chicken from a nearby farm, if not for the fact that the train hasn’t slowed for hours and he simply cannot fathom why in the world she would do such a thing. Upon closer inspection, however, the wretch wriggling about in Aoife’s iron grip is some sort of cat. It blinks up at him with big, watery eyes, set in wrinkled pink skin stretched over the protruding bones of its tiny skull.

“María,” he says gently, watching the mangy kitten squirm and mewl pathetically, “what have you got there?”

“Kitty!”

Brendan forces a smile that he fears Aoife will recognize as a grimace, and turns to Isaiah for help. Of course, he’s buried in whatever book he’s read cover to cover since they left Louisiana, hardly batting an eye when Aoife runs up to him and plops her finding in his lap. The poor animal merely turns its nose up, disgruntled, before burrowing into the lining of Isaiah’s waistcoat, sticking its sniffly nose out into the dusty air.

Despite the sudden intrusion, Isaiah merely sniffs, turning the page. The gargoyle tucked in his clothing hisses.

Sighing, Brendan pinches his nose, desperately looking for a place to gently usher the kitten out of the train car (and presumably to its death) whenever Aoife isn’t looking. Of course, his sister is coddling it, prodding at its paws and tail and whatever else of it doesn’t fit inside the folds of Isaiah’s clothing. She coos at it like it’s her own child, dropping whatever detritus she can find on the floor in front of it, coaxing it out. Isaiah raises an eyebrow at the dead plants and rocks piled up on his stomach, but when Aoife looks up at him, he ruffles her hair and goes back to his book.

“Darling,” Brendan says quietly, settling in on the other side of Isaiah, “we can’t take it with us. We barely have enough to feed ourselves, let alone a… kitten.”

At his words, the creature pokes its nose out of its hiding place, expression somehow reproachful. Needle-thin kitten teeth are bared, and its abnormally large pupils are blown wide. For a moment, Brendan has half a mind to snatch the thing from its nest and hurl it from the train in one fell swoop, but he could hardly bear to see Aoife heartbroken, and as much as the miserable critter sends a chill down his spine, needless cruelty has never suited him. Instead, he waves at the kitten, hesitant, and it snarls.

“Let the girl have her,” Isaiah murmurs, turning another page.

“But—”

“Oh, please?” Aoife is pleading now, clutching Isaiah’s leg, and both she and the cat turn their owlish gazes on Brendan. He knows Aoife well, knows that expression means tears are soon to follow, and after ripping her from their home for strange horizons, he doesn’t have it in him to take this one thing away from her.

“Alright,” he relents, and Aoife cheers, scooping up her new charge and twirling it over her head.

“Did you hear that, Gertie?” she beams. “You’re going to be my best friend forever and ever!”

Brendan cocks his head.

“Gertie?”

“This is Gertrude,” Aoife explains in a way that doesn’t really explain anything, too busy affixing a ribbon from her dress around the creature’s–Gertrude’s–neck. Gertrude looks none too happy to be dressed up as she is, but from what little Brendan has seen of her, he doubts Gertrude looks happy about much of anything.

Leaning against Isaiah’s shoulder, Brendan watches Aoife dote on Gertrude, dragging a piece of straw across the floor that Gertrude bats at with bony paws. The creature looks rather more like roadkill than something flesh and blood, but Aoife is laughing for the first time he’s seen since they left the coast. He closes his eyes, rubbing his cheek against the coarse cotton of Isaiah’s shirt.

“She’ll be alright.” Isaiah’s words are hushed, spoken to the crown of Brendan’s head. And with the rattle of the train beneath them and Aoife’s giggles filling the air, Isaiah’s chest rising and falling against his shoulder, Brendan can almost believe it.

[falcie5]

[mist-the-wannabe-linguist]

actually turns out the steal her look bird meme is a brilliant way to help design clothes for characters, if you are a person who associates every character with an animal

[bisexualshanks]

no wonder he always keeps that damn shirt unbuttoned it wouldn't fit otherwise

[strawhat-pirates]

what if, ontop of being able to find one another through vivre cards

you can also communicate through the vivre cards too?

Imagine this,

Luffy, after receiving Ace's vivre card updating Ace on his most recent adventures:

ACE

Yeah?

WE ARE IN THE SKY

That's great Luffy

I MET GOD

What.

[nocternalrandomness]

ATP Aesthetics

[thebaffledcaptain]

I don’t know how to explain my love of history without inevitably returning to the fact that history is so human. Our history will always be human. I’m transcribing a virtually untouched whaling logbook from just about 200 years ago knowing well that the man who wrote it is long dead, but somehow even from just his run-on-sentence-length entries for every day of his voyage it is impossible not to think about how human he was, too.

Sometimes his straightedge wasn’t level because he was human. He spelled the name of another ship wrong based on the way he heard it because he was human. He wrote about getting dinner right after writing about killing a whale because he was human, and he had a favorite way of ending his entries because he was human.

It’s just so strange and wonderful to think about how even two centuries apart I find things to adore about this unknown, unassuming man I never shared the planet with. I don’t know anything about this whaleman besides what he writes in his logbook. I don’t even really know his name. But though his name may be lost to history, at the very least I know he is not, because I know that on December 21st of 1825 he thought it was important to tell me that the water was very blue.

[felixs-voice-makes-me-wanna]

[mnkeydluffy]

i am not immune to the sabo luffy reunion i am on the floor sobbing

[mydearlybeloathed]

"do not kiss me again"

Whenever you leave a room, you leave a kiss on Zoro’s cheek. It’s become such a habit that you do it without ever thinking (and he’ll deny everything, but he leans toward you when he sees you get up to leave).

Sometimes you did it without ever saying a word, eyes still on the logbook Nami had you double check as you stood to put away your coffee mug. Zoro, still sat in the chair beside yours, barely acknowledges as you cradle the back of his head, angling his cheek toward you to press a chaste kiss there. 

It’s somewhat of a ritual, a way for affection to be shared without the need for words, which neither of you were particularly good with. Sure, the crew rolled their eyes and gagged nearly every time, but they thought it was sweet for the most part (save for the stupid cook).

Luffy would think it's sweet too, if he actually understood, that is. He knows you and Zoro are exclusive cause you love each other and all that jazz, but he doesn’t get that the affection you’ll show each other is reserved for that type of relationship. So after the first ten times he sees you leave a kiss on Zoro’s cheek as you leave a room, he assumes this is some new thing to do. A new way to say goodbye.

Safe to say, Usopp was less than receptive to his farewell leaving breakfast that day.

“Gah! Luffy!”

“They started it!”

You froze at the sink, trying so very hard to not smile, but then you looked at Zoro, and laughter bubbled out of you. “Luffy—” You giggled “—that’s a me and Zoro thing. Like, a me and Zoro thing.”

He blinked slowly, nodding even slower. “Psh, I knew that.”

Usopp was still wiping his cheek with his napkin, shooting his captain a narrowed look. “Do not kiss me again.”

[nightmare-foundation]

Honestly it lowkey annoys me whenever people say that Michael has 'very little personality' outside of hunting down his father.

N like- on the surface, that seems true, but like. If you look deeper, that's... not really true?? Because there's a LOT that actually speaks to his character, but you have to be willing to catch onto the connections his character has

Like, for example, Michael has a very straightforward way of speaking. He's dry and sarcastic ("They thought I was you... [laugh]"), has a foreshortened sense of the future (the drawing of a gravestone in the security logbook), not to mention the dialogue of foxybro in fnaf 4. He doesn't beat around the bush, but he's bitter and dry and sarcastic. Even as an old man, his anger and cynicism towards Freddy's shows in his drawings, but he has a sense of humor (the exotic butters and casual bongos referenced in the logbook, not to mention the silly drawings), plus he's sentimental (as said before, exotic butters and casual bongos). Not to mention he's stubborn as shit, given he keeps coming back to Freddy's, even after 30 whole years.

A lot of people also really like to write Michael off as being stupid, for... some reason. The games really say otherwise; the fact that he tampers with the animatronics regularly, figured out what his father did and what happened to Elizabeth in less than a week, freed the dead kids, helped make FFPS and ran a business, likely Also made the fnaf 3 location too, knew what was gonna happen to him in SL (pretty clear given the fact you can ignore Baby's directions on the last night), can manage several animatronics at once throughout an entire night...

Michael is very clearly Really Fucking Smart. Smart enough that I'm willing to bet that was one of the reasons why William sent him to the SL bunker. Michael is FAR from an idiot, and the FNAF movie even proves this further! He's SCARILY smart!

There's a lot more too; him using a red foxy mask speaks a lot to his character too. Red is often used to denote everything from passion to anger (yknow, 'seeing red' being a term for when you're blind with rage), and he wears it the entire time he bullies CC. It's not just a literal mask, it's figurative too; Michael puts up a mask of anger, he pretends to be this scary bully. The cruelty isn't real, Michael is just the scapegoat and he's acting out (very very common).

Also, Michael is 100% who you play as in fnaf 4 based on the movement, and who rubs away in Midnight Motorist. CC is the type of kid to freeze up, curl up into a ball and cry when he's scared, as seen several times in fnaf 4. It wouldn't make sense for him to suddenly turn around and start running around, or fighting back. It's very Michael to run around, constantly looking around, or to break out and run away.

Another note on Michael's character is that he's associated with Foxy. The Funtimes are clearly modeled after the Aftons (Ballora and Baby are, why wouldn't the rest match CC (Freddy) and Michael (Foxy)?), and using that we can gleam some parts of Michael from FT Foxy (since William clearly was trying to mock and make fun of him with the angsty teen voice). FT Foxy is a performer; he's dramatic, he's vicious, attacking even when he 'shouldn't', and wants his stage solely to himself.

This fits Michael; Michael put on an act of viciousness and cruelty, always attacking when you least expected it. So it makes sense that Michael, too, is a performer, and FFPS hammers this in using the business bear. Again, the mask represents Michael acting, pretending, and it wouldn't be the first time an Afton would pretend (William, Elizabeth, and to an extent, CC). The rest of the Aftons are also theatrical and dramatic, so again, this tracks. He's also represented as one of those hand puppets in the ffps alleyway poster, something used to ACT.

And again, with Foxy, we can gleam that Michael likely is also a sort of 'leader' figure, since Foxy has been depicted as not just a pirate captain, but also as a Ringleader. This also tracks, not just bc the Aftons have a circus theme, but Michael is the eldest of his siblings, and thus the de facto 'leader'. He's the first to act, to put things into motion when everything 'ends'. Foxy is also, well, a fox, which are depicted as cunning and intelligent, which only lends credence to Michael being intelligent.

It's also implied that Michael... doesn't really care about people who Aren't his family?? Whether that's by blood or not, he doesn't care abt others who isn't his family. This is implied by the fact that he only cared about freeing Elizabeth, showing absolutely No care about the Funtimes despite them clearly being sentient. Not to mention the lawsuits he regularly gets in FFPS, or the state Fazbears Frights is in in fnaf 3. And, judging by Henry's final speech, he and Michael just. Don't seem to talk At All. At the very least they definitely don't communicate since Henry assumed Michael wanted to die (which is left Very Ambiguous).

Honestly this doesn't even BEGIN to get into everything that the Glitchtrap Michael theory says about his character that also hammer in all of these traits Even Further.

And like. Michael is SOOO much like William when you put all of this into perspective. Like, they are SIMILAR similar, but differ in ways that are important. Michael is a performer, an actor, he doesn't care about anyone outside of his family, he's stubborn as fuck, he's smart as hell, he's sarcastic and dry, etc.

He has SO. MUCH. CHARACTER. You just have to dig a little- this is ALL gleamed from the games and Security Logbook. There's more if you believe he's Glitchtrap- which he very likely is.

Just... it's nuts. He's such an intriguing character, he's not perfect and he's morally gray, yet people love to dumb him down to "hehe sad uwu arsonist zombie boy who's also Stupid"

Please just let Michael be a problematic old man (he was born in the 60s ffs, he's almost in his 60s by the time ffps rolls around).

[dxppercxdxver]

Hey! I’m in love with the spytown au you came up with and I’ve had some thoughts that could kind of connect

I’m writing a Hadestown Mashup AU and I got to covering Word To The Wise and His Kiss, The Riot, and I was considering thematically drawing a parallel to When The Chips are Down and Gone, I’m Gone, because narratively they’re similar.

In the song before each of these, both Hades and Eurydice are given choices, for Eurydice, Hades gives her the coins and for Hades, he has to choose to let Orpheus and Eurydice go.

Then in the Fates’ number the Fates then lay it out plainly in the way they want it to end, posing a question “What’re you gonna do when the chips are down/now?” and then telling Eurydice all the reasons she has to leave, making the decision easier for her, and telling Hades that he can’t keep them or simply let them go, and then the Fates dangle a solution in the face of their ‘victim’, for want of a better term, for Hades, it’s let the lovers go, but give them the tools to punish themselves, so his hands are technically clean and for Eurydice, it’s her ticket to the underworld.

Then Eurydice and Hades have solos about their choice before settling on a decision. I’m not sure musically on any similarities between Gone, I’m Gone and His Kiss, The Riot, but stylistically, they’re similar. They’re both quiet solo numbers for the relevant principal characters to sing about what their choice is. HKTR is a lot angrier and more rough and bitter, reflecting Hades’ character better than the mournful GIG, which reflects Eurydice’s reluctance to leave Orpheus. The key thing tying these together is the sense of despair and hopelessness as the singers know they have no choice but to go through with it.

The Fates know what needs to happen and make sure it does every time, they know what to say to Eurydice and Hades to get the right conditions for the Fated tragedy, no matter how many times they sing it.

Now think about this in terms of the Spytown AU, where Owen is both Eurydice and Hades. If we think of it in terms of an actual musical, this could serve phenomenally to highlight that they’re the same person, just stuck in a damn loop.

But if it’s a real event, it just hammers in the despair for Owen, who’s trapped by the Fates and it’s technically his fault, even though he can’t go against them, and then it’s a vicious circle specifically causing the loops as they’re the two main catalysts for the doomed walk. The first, when Owen is Eurydice!Owen, sending him there in the first place, and the second, assuring that the walk happens as intended, causing Curt!Orpheus to realise the cycles and turn, dooming them both to this over and over and over ad nauseam.

-Myth🦋

no all of this is exactly what led to me casting owen as both hades and eurydice

hades is a natural extension of what eurydice’s whole life has been leading to (clinging to everything she can keep her hands on, only to Major Extremes), just as persephone is orpheus’s traits amplified (placing positivity and Herself above the needs of those around her to some degree)

like. Yeah. these songs Are similar. and it’s Bonkers. madam mitchell i owe you my life

[falcie5]

[ltwilliammowett]

Logbook Entries from the Voyage of the Minerva, Captain Nicholas Pocock, c. 1776

Pen and ink on paper, detailing observations on May 2nd-7th and 14th-25th, May 1776, aboard the Minerva "From Bristol towards Nevis," each day with typical records of distance, latitude, longitude, and weather, and also with detailed watercolor en grisaille depictions of the Minerva at sail.

[icantspellthings]

From Official Star Trek Cooking Manual compiled by Mary Ann Piccard from the logbook of nurse Christine Chapel

All of Captain Kirk's favourite food

Recipes under read more

PDF for the book :)

[strawhat-pirates]

I think Luffy talked about his brother, Ace, a lot

Before Marineford I mean. Maybe right after Alabasta where the rest of the crew first met Ace

They knew how much Ace meant to Luffy very well. So when they eventually receive news about Ace...

They all had one thought: I need to be there for Luffy.