#death by driving

[enemyofwalnuts]

I love mfs that have a piece of sh1t car that has all the warning lights on when driving. Theyre all like "no its just a fault in the sensors heehee 🥰"

My brother in annointed christ.

The oil light means stop not go???

Im gonna die one day as a passenger princess, bless.

[doydoune]

oh to be a rookie attorney in France in love with the bitchy prosecutor next door

[empressofthewind]

what's funny to me about Death Note is how casually the authors will drop the most insane lore you've ever heard and then just move on as if it never happened. like here's a girl whose parents were killed in front of her and who also would have been murdered by a crazed fan if he hadn't mysteriously dropped dead before her eyes. yes we WILL proceed to call her stupid and annoying for the rest of the series and never address how this affected her. btw did we ever mention that L is an orphan who has been working as a detective since he was 10? and that the orphanage where he grew up is now dedicated to raising child prodigies on the principle that their entire existence is worthless if they can't live up to L's standard? no? well he's dead now so here are his successors. yeah one of them joined the mafia at 17 and commits violent crimes because he believes it's the only way to prove that he's worth anything. yeah the other one had to take on the only case L couldn't solve entirely from scratch at age 13 with no prior detective experience. no the implications of this won't be addressed. also one of the new anti-Kira investigators has a vendetta against Kira because someone close to her was killed by him. will that ever be explored in canon, you ask? well you're not going to believe this-

[vampirkaninchen]

[spoilers] yes lisa frankenstein is a wonderful, campy, cute good-fo-her adaptation for all the austen/shelley/bronte-loving weird girlies but what I keep thinking about is how it's also a meditation on how society doesn't want/ doesn't want to deal with female trauma (and weird girls). the way lisa's (enfuriatingly) deabeat dad barely looks at lisa but embraces taffy (who is 'successfully' a girl: happy, pretty, and not posing problems for anyone), the way those neighbours literally ignore lisa as she is chased by an intruder (who is literally a parallel to the axe murderer that killed her mom) - lisa's trauma is seen as some kind of wilful refusal to fit into the status quo and even makes her the target of further (gleeful) abuse by her stepmom (who threatens to literally lock her away for being 'weird'). and it's not just a lisa thing; the scene that struck me was taffy, covered in blood, crying, traumatised, and that stranger who looks and then ignores her. taffy as a popular girl and cheerleader and daddy's darling is always looked at favourably, alsways an object of positive attention-- right up until she has a problem. anyway and then something something about lisa finding companionship in another other and her choosing (un)death as a radical escape from and rejection of this status quo that cannot/ doesn't want to accomodate her and many more thoughts but that's all for now thank you

[imclou]

Hello @spadillelicious, just letting you know that your boys are still living rent free inside my head.

So i read Chapter 14 yesterday, let's just say i thought i was out of fanart ideas and i was terribly WRONG

|| Character Sheet ||

because i keep forgetting what colors to use

||Bonus ||

[shotmrmiller]

getting rescued out your car during a blizzard or something, oil frozen solid in the tank and you've nowhere to go, phone showing no bars until a big, gruff man in inappropriate winter attire almost rips the door off its hinges to get you out and stuffs you into old truck, engine chugging louder than the biting winds outside, placing a coarse, thick blanket over your trembling shoulders.

you tell him through chattering teeth that you'll leave come morning, won't overstay your welcome, but he doesn't seem to care much about what you're going on about, not even looking at you once.

that's fine, he wasn't even obligated to rescue you from what would've been your tomb and while your breath is visible inside his old vehicle (no heater) and his worn leather seat is numbing your bottom, you're grateful.

until morning comes and you ask him to take you back to your car since the blizzard is over and the sun's been out for hours.

"not takin' ya anywhere 'til i'm paid back in full. think the wood i used to keep your pretty arse warm is free? think the food you ate fell from the sky? get back inside 'n run yaself a bath. i'll be in soon."

[agentof-chaos]

My favorite thing about this week's episode of pjo is the epic boss battle music playing in the background when Percy was driving the car. The way the music makes it so a 12 year old driving a car and crashing into things has the same sense of danger as a fight scene, the triumphant music when Percy manages to make a turn without crashing, the way the music stopped the moment Percy ran into the wall. An excellent choice

[one-time-i-dreamt]

My sister was coming home from college and then we went on a murder spree. I think we were trying to see how many people we could kill without our parents noticing during a road trip vacation. We ended up dying because Justin Bieber (young one) swerved the car and we drove off a bridge.

[vaguely-concerned]

huh. you know something I just consciously put together for the first time about caterina and lucanis' relationship is that through the game we get to hear them talk about each other a lot, but we get very few chances to hear them speak with each other at any length at all. contrast it with other companions whose storylines have elements of 'believed lost/long time no see relative returns!' like bellara and davrin, where we get to see both of them have several pretty in-depth conversations with cyrian and eldrin. hell I think even rook talks with varric longer in the regret prison scene than we ever get to see lucanis and caterina interact directly.

(and when we do see them interact, it's mostly one-sided -- it is, perhaps unsurprisingly, caterina who is doing most of the talking and giving all the orders, as he ruefully observes is her wont after murder of crows. including jumpscaring him with 'you're first talon now btw' and the shocked pikachu face in five acts he goes through in response lmao. perhaps it's more accurate to say that she talks at him and he reacts, than that they talk to each other much.)

it has such an interesting effect too, because in deliberately denying us direct insight or experience and only having this mosaic of description from each of them to go on, as well as forcing us to pay attention to the negative space of what is carefully not said, it's evocative along the same principle that you never actually show the monster in a horror film. if you've read the wigmaker job you have a clearer image of the more uh. worrying elements at play here going in, but there is something fascinatingly insidious and naturalistic in the way it's 'hushed up' in the game itself. she has his complete loyalty both as a member of her house and, more importantly, that of an abused child to a parent figure. he readily admits several times that she's a difficult person to live with, an even more difficult person to be loved by ("even for me. and I was her favourite")... but never once does he actively blame her nor truly conceptualize that he has every right to do so (that he can be angry with her and still love her, because whether he should or not he unavoidably does), or that she might have acted differently than she did, that she made a choice every time to hurt him. even affectionately he speaks of her as a force of nature, an act of god -- something that can't be reasoned or pleaded with or resisted, something you can only hope to navigate with as little pain as possible and pray to survive. let yourself get carried away by the riptide, resisting it will only make it worse. you don't compromise with a hurricane, you just try to find the best shelter you can and cross your fingers while you wait for it to pass and be calm again.

love is that hurricane. you do whatever she asks. you earn her continued affection day by day by never letting her down. you only want the things she tells you it's okay to want and cut everything else away preemptively. ("A wyvern tooth dagger?? I loved wyverns as a boy --Caterina would never let me have one of these, though." and as we have all wept and gnashed our teeth over, it never even OCCURS to him that he's a like thirty-five year old adult man who can buy himself any dagger he wants at any time. she said he couldn't have one. so he'll never have one. that's just how it works. and maybe if Illario could just accept that and find his peace with it like I have, this whole thing wouldn't be so difficult. oh lucanis.)

such is the price -- and the cost -- of being loved by her, it's a loan on which the interest will never stop piling up. you have to keep paying it down in perfection every day if you want to keep it. who got the worse deal there: the grandson who has abandoned everything else in life to live up to that and mostly succeeded, until the day he's so burned out and broken it threatens to no longer be an option, or the grandson who can never seem to scrape together enough worth in her eyes no matter how he begs, borrows or steals it, how he hustles and plays dirty?

one of the worst things that can happen to anyone is to be loved by a selfish god. another one of the worst things that can ever happen to anyone is to not be loved by a selfish god. (hope that helps, boys!) even in betraying everything else, Illario can't bring himself to hurt his grandmother, because that would defeat the whole point. who would he defiantly be proving himself worthy to, without her. in love, devotion, submission, hatred, frustration, bitterness, everything is defined in relation to her, you can spot the gravitational force of it through how the dellamorte family move through time and space. she -- her love and regard and attention -- is still the sun both of their worlds orbit around, even as adults. the game might never tell you outright 'she used to beat and starve them growing up. for their own good you see, so they'd be strong (and broken down enough for her to build them up again however she wanted but I'm sure that's incidental)', but if you know even a little bit about how these dynamics can work the writing is on the wall everywhere you look and all the more unsettling for it.

follow lucanis' freeze-logic and fraught interpersonal catch 22 irreconcilable mixed emotions problems back far enough, looong before the ossuary entered the picture, and you start to see caterina's ghost around every fucking corner. she is so proud of him. (well, she would be. she made him. she forged exactly the knife she needed and it rests willingly, devotedly, in her hands, it would return to her every time because it doesn't know love as anything but to be a knife. his tama never taught him how to be anything else. his biggest fear with her is that she won't even want him back, the way he is now.) to the best ability of her soul, whatever parts of it survived a lifetime of crow politics and 'five children, eight grandchildren, only Illario and me left now', I think she really does loves him. he certainly loves her, with all the sincerity and artless desperation of a child, of the little boy he was once. and what she's done to him (and to illario, for all his shitty gremlin scar-ass antics lol) is awful. the harm is real, and the love is real, and trying to find a way for these two truths to exist in the same space is driving all three of them their own individualized forms of insane. you know. the way only family can and so often does lol.

through implications and short glimpses and having to put the pieces together yourself, you can have the feeling that there is very genuine mutual love and attachment in this relationship... and that beneath that there is something so profoundly wrong. and the sneaking '...oh shit it gets worse the longer I think about it' horror of that is more effective for me at least than the stark in-your-face presentation of the facts of the matter could have been. the love is here. the love is here. it only ever makes it worse.

[blakbonnet]

saw a man so beautiful I started crying 🥹

[karoochui]

Would you maybe possibly consider drawing more human dca I love them in your style /nf

:))

-☔

This is!! Probably not exactly what you were wanting but its what ive got rn!! And ive kinda been having artblock/exhaustion recently but im not abt to hold out on ya when ive got this at least

Also mmm yeah its love death and rollerskates w my human designs 😁 simply cannot help myself it seems

[symphonyofsilence]

What drives me even more insane about this scene is how you'd expect Gojo to imagine High school era! Geto in the crowd. Or at least not the cult leader, worst of all the curse users Geto Suguru. But no, it's the cult leader Geto. It's Geto as Gojo last remembered him. As Geto last was. Whatever choices Geto made, wherever his choices led him and them, however he was, whoever he was, traumas and messed up ideas and bad choices and ill reputations and scorns and all. Gojo wanted Geto Suguru there. Not any ideal version. Not any "what if" version. Not any "at some point in time before things went downhill" version. Not any "when your hands weren't stained with innocent blood" version. He knew very well what he wanted. And he wanted it all the same. He wanted Geto Suguru. However he was. He just wanted him to be there. He just wanted him to be.

And he didn't want him to help him, he didn't want him to fight with him even if they were strongest together and always fought together for a while. He just wanted him to be there in the crowd and cheer him on. He just wanted him to stand there and give him one of his sweet, heartwarming smiles that shaped his eyes into crescent moons. He just wanted him to be. Then even if Gojo had died in the end anyway, he would have been satisfied. It would have been worth it. Only if Geto was there.

[thefandomfires]

I usually try and keep hockey off this account but I am begging you all to never drink and drive.

It’s not just yourself and those in the car you are putting at risk. It’s the people in the cars around you, the people biking near you, the people walking on the sidewalk, the people waiting for the bus.

Don’t drink and drive. Have someone come pick you up or call an Uber.

The risk is not worth it.

My heart goes out to Johnny and Matthew Gaudreau’s family and friends.

Edit: I said this on Twitter earlier but I think it should also be said here.

As someone who has spent the large majority of their career working at trauma hospitals, I’ve seen the devastation it can cause and the people who reap the consequences from drunk driving are almost never those who made the decision to get behind the wheel drunk.

Please think of those around you before you drink and drive.

Also this from a reblog:

[saltpepperbeard]

[twoseparatecoursesmeet]

Artist's Drive in Death Valley, 1989

Mickey Crisp

[song-of-baldy-ron]

POV you’re about to check into the most dysfunctional mismanaged BnB in the Caribbean