#crack [what is this nonsense]

[gleafer]

I played with some Twitter friends! Enjoy!

I draw what you ask, but not what you’re expecting!

[illmoraineakoi]

So, I know I'm a little (very) late to the AvA stuff, but I was rewatching AvM Season 3 for the seven hundredth time and, well, I noticed something and I'm curious to know if it's been discussed before.

AvM Episode 29, Purple's story, specifically, Pink's death.

Her color changes as she dies, or is represented to have died.

It fades to grey.

Now, the question is, can we, or rather should we, use this to infer anything lore-related? Was this just an artistic choice to depict the act of becoming unhealthy/dying, or could this be what actually happens to stick figures that die over a period of time? Are their colors linked to their health?

Let's have a bit of fun with it, and presume that the fading of one's color can happen to a stick figure for health-related reasons, as the scene could imply.

This fading seems to involve loosing the saturation of one's color into grey. Saturation is how vibrant a color is, and the complete lack of saturation is greyscale.

The World-of-Alan reason for Pink's death is that she 'got sick', which is where the health connection of this theory comes from. If she did loose her color as she was dying as the notes depict, that loss of color was likely a result of her failing health rather than any other factors, like age or outside variables. A whole bunch of human body stuff are indicators for good vs poor health, including skin color (jaundice and cyanasis are good examples) so why not a stick's color for them?

What if, when they fully die, they lose all of their original color?

Now, let me propose this…

Who else do we know of who has had their color loose vibrancy?

What if Victim's color has lightened because he's ill?

[pearl-dragon-cavern]

[suguruuuuu-chan]

Do you ever think about the fact that the ONE time Sanji let himself be comfortable and enjoy dresses and makeup with cigarettes, Ace died and Luffy almost died all alone and so far away. Will Sanji ever forgive himself for daring to relax and explore himself a bit while catastrophic things were happening? (Jk he'll never do so again, just in case)

[zoophagist]

renfield: i'm mr dracula's right hand arm... man. i'm mr dracula ✨everything.✨ i'm his confidant, his best friend,, his silly rabbit-

seward: his what?

renfield: his Silly Rabbit ☺️

seward: is that what he calls you?

renfield: no ❤️

[veil-jumping-into-love]

I need more disheveled Emmrich in my life. Might have to do some sketches, some Rook has just made an absolute mess from taking him on his office desk and tugging on his sweet silver hair sketches. Solas can’t be the only one skilled in fade tongue…

[fromtheseventhhell]

Ned Stark has never shown a sign that he hates the Targaryens (???) I don't know where some people get that from? i mean, just because you hate targaryens doesn't mean your fictional characters are also, and based on nothing

That's exactly it, people dislike Targaryens and want other characters to feel the same way to justify it. I've seen people call it a "plot hole" that Ned doesn't hate the Targs/Rhaegar, but at this point fandom's mental gymnastics don't surprise me. They either rewrite characters to align with their opinions or decide they're unreliable. It never occurs to them to change their opinions based on what the story is actually telling us.

[imagionationstation]

*Slams open the door to your inbox very, very loudly*

I HAVE ANOTHER IDEA FOR AN AU

But this one is a little bit deranged.

AU where only Donatello and Karai are raised by Splinter and the rest (Leonardo, Raphael and Michelangelo) were raised by the Shredder. (Or vice versa idk which would be funnier)

It's stupid, I KNOW— but wdnsixjsks—

Just imagine the lone turtle being raised by the opposite side of the other three, accompanied with just as fierce + overprotective older sister who'd drop kick anyone who ever attempt to claim the title as 'Donatello's older sibling'.

Donnie'd be so confused to suddenly have a group of the same species as him suddenly thrusted into his life after spending years of beliving he's the only one— and oh look they're now claiming him to be their brother, how neat.

Karai is NOT happy because that's HER little brother and they have to pry him out of her cold, dead hands.

Leo and Raph would be, "You're our master's daughter and that's OUR little brother", to which Karai would be, ">:0".

Cue to Mikey and Donnie arguing who is older.

I'm not sure about you, but I am also a sucker for (over)protective Mikey. It's a neat concept, one that hasn't been explored much by the fandom— but arhwidnsidnsi.

I just love the purple genius, okay?

This AU is purely crack and self-indulgent at this point hahah.

-Ellestrade

Donnie didn’t consider himself to be a bad son, per say.

Sensei always had a list of rules to keep him safe. Never go down to the ground floor unless the dojo was closed for the day. Never open the curtains because he might be glimpsed. Never go out into the yard unless he got permission or had one of them with him.

And never, under any circumstances, was he to enter New York City.

Sensei was always very careful when it came to his safety. It’s the whole reason that he found a place outside the city for him to grow up, miles away from people, but close enough to the city that Miwa could visit to terrorize socialize whenever she feels cooped up.

Donnie’s never had that luxury, but now he was fifteen.

Fifteen was practically driving age. Fifteen is old enough to be in a high school and get invited to parties that sounded unsafe and rent adult movies behind parents backs and get to buy things at stores or check out books at the library!

He’s definitely responsible enough to borrow some books on his own.

Fifteen is also the perfect age for sneaking out and breaking rules.

It’s not really his fault. It’s the hormone and teenage ritual stuff. He couldn’t help it, probably. That’s what Miwa always says. Sensei buys it sometimes. He goes easy on her. So when Donnie wakes up to a carpeted floor and a splitting migraine, he knows he’s been caught and he’ll need every reasonable excuse that he can get his hands on.

It’s his birthday, anyway. Sensei can’t be too mad.

There are muffled voices around him as he lifts his head, immediately regretting it when pain spikes from his skull and scatters across his forehead. He clutches at his skull, groaning miserably. He’s never had an all-nighter migraine this intense before.

He supposes that this is what Miwa would call a personal problem as remains on the ground, forcing his eyes open to get a read on the situation. He expects to see his father hovering as Miwa goads him into a punishment because the consequences of his actions was never enough for her.

Somehow, his father usually ends up letting him off the hook instead. A perk of being an extinct species that can never see the light of day, he supposes, is endless sympathy points.

Donnie’s greeted with three shells, four blinding overhead lights, five individual weapons, and six eyes, all balanced out by a truckload of confusion. He stares, blinking sluggishly, as one of the turtles announces, “Well, he’s not dead.”

And just like that, this has officially slotted itself to be the weirdest dream Donnie has ever had.

DON’T LOOK AT ME LIKE THAT I HAD TOO-

So anyway, feel free to assume that he’s in pain and kidnapped for any number of reasons because I have about twelve different ideas and they are all equal GREAT for the crack AU atmosphere that is in development in my brain.

I’m just imaging a backstory where Shredder fought the Kraang (cause he was hangry or something, who knows) and the turtles (sitting abandoned in the alley, maybe?) are corrupt with mutagen.

Absolutely dumbfounded but not stupid enough to leave the little freaks of nature behind, he (still human) snatches three of them, accidentally leaving one behind.

Hours/days later, Toddler Miwa hear Donnie crying, barely alive and all alone. Obviously, dad and daughter care for him.

Shredder and Yoshi are still human, but neither is on guard for the other. They both think the other remains in Japan.

Their sons don’t grow up hating each other’s guts. They are both trying to leave their past behind. Yoshi is raising his family. Shredder is growing his empire.

So Donnie didn’t grow up knowing he had other brothers because no one knew they existed. Ergo, I imagine Donnie would be confused at first, but after fifteen years thinking that he’s alone in the universe, he’s eager to learn everything about these three fellow turtle mutants in ninja gear. He’s a bit perturbed about the fact that they keep making excuses to keep him from leaving, but he’s not to concerned about it. He has brothers! How neat is that?

And since it’s a crack AU, it would be absolutely hilarious if Donnie seems like this naive, learned soul, who cannot social in the slightest- but the second that the need calls for it, he knows how to use several different type of weapons and can take all the brother down single-handedly. He had fifteen years of no brotherly distractions and a sister who takes training very seriously. Why wouldn’t he?

It’s why he’s not concerned with technically being held hostage. He’s reasonably certain that he can take them. And he proves it when Karai finds him and tries to take him home, only for the brothers attempt to stop him from leaving.

Of course, he always feels bad about his supremely awesome and instinctive skills. He prefers his studies.

No, but your “pry him out of her cold, dead hands” comment made me think that she’d need a reason to feel threatened. If they bond before she finds him, Donnie will begin looking at his older brothers (yes, even Mikey, who adores being able to feel in charge of someone) like, well, eldest brothers, and Karai will sense the change.

And, obvs, be completely and utterly ticked off by it.

Donnie’s spent his entire life admiring her and everything that she does- how DARE she have to share his attention with these three random strangers that literally kidnapped him?!

And his older brothers will all immediately decide that this lost child is theirs’ for one reason or another. And obviously, the safest thing to do when you find a stray mutant like you is to take it home and give it care. Heck, if it turns out to be your brother, even better!

HAPPY FIFTEENTH BIRTHDAY! YOU BELONG TO A GROUP OF NINJA TURTLES NOW, ADOPTED LIKE A LOST CAT! CONGRATS!

[rosefires20]

Since I've shared more of my reading interests on here lately, I thought I'd share my rant about the insanity of the book The Princess Bride by William Goldman. Yes. This is the book that is the same story as the popular older movie The Princess Bride.

I'll start this by saying I've never been so affronted by a book before. The closest would be the ending of the first Mortal Engines books (which if you know you know). That ending actually drove me nuts enough that I recall it quite often when thinking about insane books. However, the Princess Bride blows that chaos out of the water.

Not only is the book halted by a lot of extra nonsense that the author throws in of his own thoughts and opinions because part of the story is that he is retelling a book he read as a child and abridging it. The book in question doesn't exist so this is all made up and fantastical. I'm usually down for the silly and extra from writers. I've read Good Omens and plan to read some of the Discworld series sooner rather than later. I obviously recently finished the Hobbit and LoTR. But that is the fun silly that I love. Whatever the fuck is in the Princess Bride bridges on insanity.

The book is mostly the same as the movie EXCEPT for the ending. In the movie, it ends with Buttercup, Westley, Fezzik and Inigo riding off. In the book, it goes further. In to the most insane shit I've ever read in a published book. It's genuinely insane crack fic level material.

Like WHAT THE FUCK DO YOU MEAN THEY GET SAVED BY THE PIRATES FROM THE PRINCE'S SOLIDERS BUT HAVE TO LEAVE THE BOAT IN WHICH FEZZIK IS INCHARGE OF ROWING. HE ROWS THEM INTO A WHIRLPOOL WHICH IS WHEN WESTLEY SPEAKS UP AND SAYS THAT THEY HAVE TO SWIM THROUGH THE WHIRLPOOL TO GET TO AN INASSECIBLE ISLAND WHERE THE PRINCE CANT FOLLOW. THIS HAPPENS AND THEN BUTTERCUP WHILE THEY ARE CHILLING ESSENTIALLY TURNS TO WESTLEY AND SAYS LETS HAVE SEX FINALLY. THAT SEX GETS BUTTERCUP PREGNANT WHICH ENDS UP LEADING TO A BIRTH WHERE THE BABY IS BACKWARDS AND TANGLED AND POTENTIAL WILL DIE ONLY FOR FEZZIK IS GET FUCKING POSSESSED AND SHOW UP AND DELIVERY THE BABY SAFELY. THEN THERES A TIME JUMP TO WHERE FEZZIK IS SAVING THE BABY AFTER SHE WAS KIDNAPPED AND HE JUMPS OFF A CLIFF TO SAVE HER AND THANKFULLY THEY SURVIVE BUT THATS WHERE THE BOOK FUCKING ENDS.

WHAT THE GENUIENE ACTUAL FUCK IS THIS BOOK. WHAT THE FUCK

[note-boom]

Life and Death Parallels within the ADA

Someone in a tag said a while back to throw some of my tags of this post onto a post, and I meant to do it way back in February but kind of got lost to the timestream.

But I'm back and I really do have thoughts about the way the ADA is structured to really be, as Atsushi was told just before the Kamui revelation, a place where the members give the organisation unique strengths that cover each other's weaknesses. And I thought about how there's a sort of equal divide between the older generation (Ranpo, Yosano, Dazai, and Kunikida) and the younger generation (Kyouka, Kenji, Tanizaki, Atsushi) and how each of these characters have both a similar aged parallel to them in the agency as well as a minor-adult parallel.

I'll try to be as concise as possible (I failed), but hear me out...

We have Ranpo/Yosano, Dazai/Kunikida, Atsushi/Tanizaki, and Kyouka/Kenji as similar-aged parallel sets that pair a death-coded individual with a life-coded individual. On the the adult-minor side, you have Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida as parallel sets in their story arcs rather than thematic ones.

So, to start with the first set.

Ranpo (life-coded) and Yosano (death-coded): I feel as if these two have sort of reached the most balanced level of thematic parallels than any of the other pairings. Ranpo's past was full of this enjoyment with life where his parents' occupations dealing with darker forces of the world were hidden from him. Meanwhile, Yosano's past was full of death and darkness that was not hidden from her. And in Yosano's backstory, she was called the angel of death; in Ranpo's Origins tale with Fukuzawa, he confronted an angel of death of a sort. Yosano was deteriorating into death while Ranpo was slowly thriving under Fukuzawa. And then they met...and Ranpo found someone to bring back to life, and a place in the ADA where he could use murders and death and the darkness of the world to spread light/life by literally shining light on the mysteries, while Yosano found a place where she could use death to bring life in the ADA.

Dazai (death-coded) and Kunikida (life-coded): I think this parallel of life/death manifests the most in their ideals...Dazai's ideal is sort of entrenched in death and trying to die a painless suicide while Kunikida is all about spreading life for himself and others no matter how much pain it brings him. What's so wrong with these two is that they also have inclinations towards their "opposite coding," so to speak. We constantly see people pointing out Kunikida's secret desire to die while we clearly see Dazai doing his uttermost to live a good life and carry on Oda's legacy. Life haunts Kunikida as much as death haunts Dazai, and yet death chases after Kunikida (all the people he's witnessed dying, RIP) as much as life comes after Dazai (all his failed suicide attempts, double RIP)

Atsushi (life-coded) and Tanizaki (death-coded): This is honestly pretty tricky because we barely know anything about Tanizaki. Even though Kunikida and Dazai's past-pasts are still pretty mysterious, we have a good grasp on their characters. But Tanizaki's personality dissonance and as-of-yet unknown past with his sister definitely contrasts with the way we're know Atsushi's past and values. Both, however, are incredibly protective, but the way Tanizaki and Atsushi approach it is pretty different; Tanizaki seems to have this mentality that he must kill the threat while Atsushi seems determined more to save the victim. (I also find that one throwaway about "wimp of the east (Tanizaki)/wimp of the west (Atsushi)" interesting because maybe it's just in western lit, but west denotes sunsets and death while east denotes sunrises and rising, except in Buddhism where the west is shown as a direction of enlightenment(info check?)...which provides another host of interesting parallels to Atsushi and his relation to the book but let's not go there). All in all, these two are a bit of a stretch, but it's interesting to see that Atsushi's mysteries lie more towards the future (usually associated with life) while Tanizaki's life more in the past.

Kenji (life-coded) and Kyouka (death-coded): This one's pretty straightforward, not just because they're the youngest members of the ADA. But you see their life philosophies and personalities lean towards what they're coded as, as well as their pasts (Kenji as a farmer, cultivating life, and Kyouka as an assassin, dealing death). And yet what drew each to the ADA....Kenji was drawn to the ADA after witnessing death after a lifetime of growing new life while Kyouka was drawn to the ADA after being given life after a long childhood of killing.

However, in the end, the Armed Detective Agency is a detective organisation devoted to saving people, and all of them end up choosing life for it. But the different ways they go about it just go to show that you can have any crazy skill and still spread some sort of life through it. All of them are haunted by death, anyway, and yet all of them choose to spread life regardless.

Now onto the second set, which I'll keep shorter by simply saying that the pairs - Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida - just have similar story beats, in a sense.

Ranpo and Kenji raised fairly happy, rudely awakened by the world, and yet choosing to believe in continuing to keep up a positive attitude; I'd say, though, that Ranpo does it primarily through shutting his eyes to the world while unmasking it while Kenji does it through acknowledging its pain and refusing to let it bring him down.

Yosano and Atsushi both with honestly terrible childhoods spent witnessing some of the most cruel sides of human natures growing up to be champions of life, only Yosano has definitely developed more steel and walls while Atsushi's definitely softer and more open still (they're both crazy stubborn, though).

Then Dazai and Kyouka's past with the Port Mafia and a disillusionment in reality that was abruptly interrupted when they realised they had to do something about it as useless as it sounded; Dazai thanks to Oda dying and Kyouka thanks to Dazai telling her to save people anyway.

And again, Kunikida and Tanizaki's probably a stretch given we know nothing about their pasts, but I really really find it interesting that Kunikida was a former teacher and Atsushi first assumed Tanizaki and Naomi to be students; also, I've mentioned this in other posts but Kunikida and Tanizaki are paired together a lot and have...their moments. It's pretty interesting to perceive these two people with strong ideals that are almost the reversal of the other ("the world for one person" vs "myself (one person) for the world").

But yeah...that has been parallels within the ADA concerning themes of life and death and their character's narrative arcs.

Bonus? Fukuzawa and Naomi....a middle aged president and a teenaged clerk, both protective about the people they claim to be their own, smart in their own ways, with seemingly "support" roles.

[why-is-it-always-autumn]

The problem with big fandoms (using "problem" in a very loose sense here) is that it's really hard to stumble across the weird niche undertagged stuff when its being buried in five million coffee shop/royalty/high school/soulmate aus. If there are 150 works in the tag total you can look through very quickly and find anything that appeals to you. When there are over a million it is much harder to do that.

[in-asterism]

all the details in this didn't translate so well into a drawing, so I wound up just writing

you can probably figure it out, but this is set immediately after Luce's death

They steal into the Giglio Nero headquarters like a ghost, slipping through half-open doors and winding hallways. Giglio Nero is old, and each new Donna has built on the bones of the last, turning a once-modest estate into a sprawling compound. 

Viper knows every hallway, had spent their time in I Prescelti Sette mapping every secret path in their Sky’s house. 

They let their feet settle on the ground, choosing to walk the last stretch. With an infant’s body, every step only takes them an increment further, but today is significant, and they need the grounding. 

The heart of Giglio Nero was once the inner sanctum of the Arcobaleno- but embittered Elements tend not to stay long after being chained to the world. It was called the Nursery, which, in hindsight, was deeply morbid. 

They slip into the chambers of the Sky Arcobaleno, and settle on the dais where Luce lies. The indigo pacifier stays dim.

 Her neck is bare, her skin is cold, her eyes are empty. Viper doesn’t know how long they stare into those hollow eyes, but eventually they manage to reach out and close them. Luce deserved to turn her gaze away, even if only in death.

They can’t look away.

Her white dress, the uniform of the Sky Arcobaleno has become her funeral shroud. Cold impersonal white, a monument to the purity of her flame, to the duty of her death. Her blank face, orange marking garishly bright against death-pallor. 

It’s so, so wrong.

Luce is warm, and she smiles, and she is always moving, even just a little.

She hated to be still. She made a point to smile, always, even when she cried because there were things that the world could not take from her, and her reactions were one of those things.

For it to end this way-

It was always going to happen, really. The lot of them had lived their lives, exceptional but still sensical, and then somehow found their way into a fairytale. Even the Strongest Sky could not subvert the laws of her narrative.

But it hurts that she wouldn’t even try. That she laid down and waited for Him to come. That she walked up that mountain with the poise she brought to every other tragedy.

 The people they hate most are liars, and Luce was always a liar. All that sight, blessed gift of a dead goddess, and she could never even admit the truth to herself. Pathetic…

They twirl a strand of bluish hair around chubby fingers, but they can’t stay. Within Giglio Nero’s halls, there are always eyes on the ‘precious’ Arcobaleno- already the pacifier has been passed to little Aria, and soon her predecessor’s body will be discovered. 

Best to just go. Time is money after all, and Viper is wasting it here.

[pearl-dragon-cavern]

[jasontoddenthusiastt]

It is not classist that Jason, a vigilante in a *family of vigilantes*, is violent like the rest | just | because he comes from a poor family

What's (more likely) classist is writers thinking he needs to be taught right vs wrong from Bruce and co and that he consequently makes snap judgments out of some childish grudge-fueled rebellion which makes him dangerous the way a toddler holding a knife is dangerous

[elle-thereafter]

I am suddenly craving an Essek/Artagan absurdist crack fic. Make them both Jester’s Maids/Men of Honour for her and Fjord’s wedding and force them to collaborate on making wedding floral arrangements and planning a dick-festooned bachelorette party and generally driving each other increasingly bananas with the mundanity of wedding planning. Then on the morning of the wedding when they are finally almost rid of each other, trap them for hours in the equivalent of an Exandrian elevator and make them be escalatingly insufferable to each other until all that stress and loathing and hostility and obvious sexual tension leads to having a gloriously hot and messy hate fuck right there in the elevator closet demiplane whatever small space they’re trapped in. Right after which they are finally rescued, and Essek just barely manages to get some of his clothing back on but his fancy wedding suit is hilariously rumpled and Artagan is still completely naked with his outfit thrown oh-so-casually over his shoulder. Caleb and Jester are dying laughing and Essek is like shut up and Artagan is like you know, that purple kid gives surprisingly great head. And then Essek has to endure the rest of the wedding with Caleb and Artagan talking casually in explicit detail about his exceptional blow job technique.

[cuminhoid]

tcw jangobi

jango runs around looking for codex likers (not necessarily haat'ade) and spar is there also because of strange dynamics of the title and everyone says "we will take spar" and jango feels so guilty and then they're "no one blames you for galidraan. but you look stupid with a plastic vambrace and spar's armor is cooler"