#fuck it i'll put it in the tag

[arainaizevran]

i think a part of wyll's character that doesn't get explored enough is how angry he actually is

when you talk to him about how he became the blade, he says he wasn't proud of saving a boy's life, but rather that he was angry at the monsters preying on innocents, the cruelty of evil, and angry that it took him long to see the coast's suffering

he says something similar when the dark urge confesses the urge to him: that he understands the type of anger that would drive them to bloodthirst and violence--as long as it's directed towards monsters and devils

[sibillascribbles08]

ID Found False? Can't remember if we've discussed that one! Is it a De-De fic?

It is ! I put it on pause for a hot minute but I'm sure I'll drift back to it soon enough (but it's one of those I'm kinda just dipping into as I feel like it) Unsure of how long it's going to be but I wanna address him coming into his own as well as him becoming besties with the technodrome (or more than besties??? tehe)

Here have a very upsetting snippet ! (Note, he still thinks he's Donnie by this point and thus uses that in the narrative)

Day seven.

Or was it eight? Nine? Ugh, Donatello didn’t even have access to the computer clock from here. 

He might as well have been shoved in a little tin box. The walls felt cold, solid, and immovable. No matter how he tried to override the blockade, it held fast or even bit back at him for trying. 

It was dark and empty. Nothing to even gaze at, much less anything to do. 

Donatello may lose his mind to boredom. 

Or the crushing loneliness. 

It was bad enough wandering around the computer for that week after the disconnect. Nothing but silence as he worked. Sure he’d sometimes see his physical form move around some files or upload some data, but that was it. He couldn’t see his brothers or his father, much less touch them, and the anxiety from that nightmare still clung to his brain. 

He wanted to scream, but wouldn’t, not until he had someone to scream at.

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[castielsprostate]

day 450 of asking @mishacollins to put his hands around my neck and choke me lightly

[couch-house]

girls and their guns

[misternibbs]

shitty comic that doesn't really mean much WOOOOOOO happy new year

I'm glad I have something to look forward to.

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[geiba]

GUESS WHO'S SICK AND MADE A SHITPOST

i am dedicated to always giving minimum effort. do i like the shading? no. will i do it better? also no <3 anyway hope ya like the shitpost (image reference below)

i found this on pinterest and like. big ruikasa energy, this is exactly the type of shit these two would pull. whether you ship them or not they for sure lose braincells in proximity to each other. i do have like, potentially 3 actually serious good quality fanarts knocking around in my empty cranium (make that + one (1) crack(ish) fanfic idea (romcom style), to tease it a little it's an idiot triangle basically. just one big hilarious misunderstanding really. also it's akitoya, plus tsukasa because the dynamic of akito and tsukasa as kinda in-laws is fucking hilarious to me, imagine the sheer fucking despair of akito realizing that the annoying guy from school is now his semi brother in law. peak shit ) but we'll see about actually making those.

[heartorbit]

the star you've longed for

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[qourmet]

Like a Kept Dog...

[cherrirui-official]

@ohposhers I blame you for this

J*hn D*ry do NOT interact 😤✋

[orcelito]

everyone always talks about That One panel of Trigun: Multiple Bullets, but i havent seen anyone talk about how fucking BATSHIT INSANE the surrounding fight is

like

Vash & Wolfwood fighting back-to-back, both using the punisher as a shield

(the rest under a readmore bc this accidentally got LONG...)

Vash seeing the shots coming from behind & purposefully not moving bc he knows if he does, Wolfwood would get hit

Wolfwood getting injured too, but not moving from Vash's back. the way he's stanced, it looks Protective. he's doing what he can to keep Vash out of the direct line of fire.

even when he's getting shot up for it, he Doesn't Move. (this also seems to be the moment he got hurt, which leads into the panel later)

& throughout this whole scene, we are only seeing Wolfwood's reactions.

until the girls give them an opening, and they burst out with THIS:

Wolfwood injured, so he can't properly aim the punisher... and he gets around this by sticking one of the leather straps in his Mouth

and then we FINALLY get to see Vash's face again as he grabs the punisher (with a "GAN" sound effect, so he fuckin SLAPPED that metal hand on the punisher).

Wolfwood trusts him enough to just do what he says in the thick of battle, so we FINALLY get to the iconic panel:

which brings us to the aboslute insanity of what Vash is actually Doing.

"DON DON" -> two shots fired for two missiles launched. he literally manages to TURN THEM AROUND MID-FLIGHT (interesting to note that they seem to have internal propulsion, rather than simply being fired by Wolfwood. how many of these does Wolfwood have? they seem heavy.)

he manages to avert the third missile from hitting the dude directly, and instead makes it land Behind him. then the other two missiles, he rests his arm on Wolfwood's shoulders to hit them and direct them behind the other two enemies

Boom.

killing no-one, but showing an INSANE level of fine control AND teamwork.

and in the end, Wolfwood's arm is in a cast, Vash seems either unhurt or hurt but unbothered by it (typical Vash). And Life Goes On.

(forgot to mention before, but all panels are from @trigun-manga-overhaul! thank u for the beautiful pages)

[ambrosetv]

Your name is the CHONNY'S CHARMING CHAOS COMPENDIUM FANDOM, or CCCC for short. You are, for lack of any better way to describe it, INCREDIBLY MENTALLY ILL. It's almost as if you FIGHT YOURSELF. You're MUSICALLY TALENTED, mostly in BASS, DRUMS, and SINGING with AUTOTUNE OF VARIOUS PITCHES. Unfortunately for you, you're prone to being MISINTERPRETED, and are seen as LESS SERIOUS than you actually are. The TALLY HALL FANDOM is DEEPLY CONFLICTED about you. Lastly, your existence is about A DECADE after the ACTIVE RUN of… whatever this is, which is on par with how you're based off of a TALLY HALL* COVER ALBUM.

Your username is tridentialCacophony [TC], ([{and by god, is your fucking typing quirk one stupid goddamn thing after another. truly, you put your entire (Heart), [Mind], and {Soul} into making this up}]) Your godtier, because your artist is THAT BITCH, is MAGE OF (HEART), and you are a DERSE DREAMER.

==> CCCC Fandom: Be the most popular of Chonny Jash's musical endeavors

--

in which ambrosetv dot tumblr dot com remembers something it liked as a teenager and gives in to the dark urges. i realized after writing that i was more describing the album than the fanbase, but if i was to describe the fanbase genuinely, i think i'd get stabbed

[batfam-stuff-posts-0]

(Curious because I have 4 (this is my main one but I had a tumblr once before and realized putting all my obsessions in one blog doesn't really work for me))

[charlesemersonwinchesteriii]

happy hodgvingdays <3