#he has to be saved sometimes too

[fairsweetlonging]

imagine if after the transmigration shen qingqiu became a combination of shen yuan and shen jiu, not in a "second person living in my head" kind of way, but a "this house is haunted and carries the echoes of the dead" kind of way; imagine shen yuan having nightmares about a house, a fire, a faceless boy behind a door he can't remember; imagine him having flashes of emotions he doesn't understand, rage at a name he doesn't recognize, helplessness when yue qingyuan apologizes for something he won't mention, nausea when ning yingying says the name "a-luo"; imagine parts of his own self have changed too, how he now likes bows in his hair, pretty flowers and flowing robes, but can no longer stand a stranger's touch, a man's touch, yet he longs for the brothels, but never sexually, only fondly, like there's something there he misses. there are many empty spaces in his heart where he feels something is missing

[puppetmaster13u]

Prompt in Memes 5

Once more, have a prompt entirely in memes because I'm too lazy to properly write one right now lol.

[starcurtain]

Sometimes I think about Aventurine in the moment he first discovered his Pathstrider abilities. The moment he first realized he could shield not only himself but also others. The very first moment he realized he could be a source of safety, rather than a burden--than a curse.

Sometimes I think about the hatred he must have felt for himself in that instant.

Where was this power when their camps were burned to the ground with every last one of their meager possessions? Where was this power when his mother died begging as he cowered, playing dead in a bath of the blood of everyone he knew?

Where was this power when his sister stood tall, a silhouette against the lightning, and used her body as the shield? Where was this power in the maze, when it could have spared the screaming child who was the first to die?

You could have saved them. You could have saved them. You could have saved them.

[ruporas]

lonely

[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”

The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”

The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"

The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."

The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"

The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"

The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"

The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."

The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]

[gophergal]

Life on the farm

[kazumahashimoto]

lui shirosagi for the soul

[just-sp-in-inginthevoid]

As much as the 'haha Takemichi went to save his husband after saving his wife, bisexual much?' joke is funny, people who seriously thinks Tokyo Revengers should've stopped when Hinata was finally safe and sound missed an important component to the plot.

Yes, it all started with Hinata - but since when was it all about Hinata?

Takemichi, kind-hearted Takemichi, should've just stopped everything after saving her? He got into Toman for this reason, yes, to get closer to Mikey and stop him - and Kisaki - from killing her, but he also sincerely got closer to Mikey. And everyone else. And he's supposed to simply leave them be when 'mission: save Hinata' is complete? As if the number of people he wanted to save didn't get longer with each timeline? Those are his friends why would he throw them all away.

To protect Hinata he decided to stick close to Mikey since he failed to prevent Mikey and Kisaki meeting each other - and he got attached to Mikey during that, as well as all of Toman. Each steps to save Hinata was also a step to save Mikey from corruption and self-destruction. It was all linked from the start.

There was a shift after Bonten, okay, whatever, the only thing that truly changed was Hinata's importance in it. New enemy? That happens in each arc (right, sure, there wasn't Kisaki anymore). Mikey being more and more violent? Again, each arc featured a moment of Mikey showing signs of being mentally unwell - and now it was aggravated because it was two years earlier than what Takemichi got used to go back to. Etc, etc. Toman may be disbanded, but its (at least main) members still meet and interact and they all kept in touch - Mikey aside. That just a change of mood, a mix of the present/future timelines with a more serious setting and of the past timelines with how young they are, despite not being as young as before. And future timelines have never been a problem - there's a lot of love for Manila and Bonten. If Wakui had had time and energy, Kanto Manji, all 70 and so last chapters of TR could've worked with its fanbase. For some reasons it didn't, and I don't get why by myself

[luck-of-the-drawings]

smth smth about 'the thing that the character did that you thought was rly rly funny in the moment is actually linked to a terrible trauma that lies within said character.' or wahtever.

[suffarustuffaru]

hello everyone i made a quick summary of main route ottosuba. hope this helps.

[zukkaoru]

sorry i'm thinking abt megumi's incessant desire to be the first to die vs. the narrative keeping him alive despite and how the most tragic ending for him is not actually dying, but being left behind. for megumi, the worst fate is living a long life

[batsarebetterthanpeople]

And another thing! Literally any queer story that takes place during the colonial age would have a huge gaping hole in it if it didn't have anticolonialism as a theme. Especially one that centers indigenous people. Like the reason that every culture had their own concepts of gender until something happened and then suddenly the gender binary was ubiquitous is because western European colonial powers made their view of gender the only acceptable one as part of christianizing and colonizing the world. You're not gonna have a show set in 1717 in the Caribbean where the love interest is a gay Maori man and the main deuteragonist is a non-binary mestizo catholic and just skip over colonialism. Like these are exactly the people who western gender roles are being forced on at fucking gun point during this era. Jim and Ed are both mixed race characters who's gender and sexual identities are in active defiance of the colonial powers that be. And this is the fucking Stede Ed and Jim show.

And there's something to be said for the fact that Stede's toxic masculinity plot line is internalized and Ed's struggle with toxic masculinity is largely external in the form a white guy who rubs elbows with the British Navy when Ed doesn't behave to his standard of masculinity. That choice didn't come out of nowhere and it shows a deep understanding of where homophobia comes from. That's not to say that precolonial communities of color were paradise for people that we today would consider queer but the rich tapestry of sexual and gender expressions that existed in those communities were erased in the name of colonialism. That's going to affect literally any queer person at the time when OFMD is set. These two things are inextricably linked.

Like when David Jenkins says a lot of what we're taught about being men is wrong, motherfucker who taught us what a man was. Who taught Ed what a man was? Who taught Stede what a man was for that matter? It's the white dad with the English accent who is violent (derogatory) and overbearing.

Like you get what I'm saying right? Like it's a silly little rom com but also it must necessarily be that deep because of who these characters are and when and where they exist.

[bunnyboy-juice]

spent the first hour and change at work deleting some old files and am having a grand ol time laughing at myself for not realizing i was a lesbian sooner

[vaperarmand]

hey. dm yuri thursday? want a snippet of something im working on? (1970s human au, artist!armand)

“You are fascinating, aren’t you?” Armand said. Her gaze was inviting yet sharp, and Daniel felt like a bug caught in amber. “You’re bright and brash. You seek truth, and you feel the art is trying to lie to you, so you claim to dislike it.”

“I’m not claiming to.” Daniel liked having solid opinions. You can’t shoot bullseye with a flimsy arrow. She’s survived as long as she has because she’s a smartass, she’s tough, even when she isn’t supposed to be.

“If you truly did, you would not have stayed as long as you did. When one dislikes a drink, one will gulp it quickly to get it over with, then rinse out one’s mouth. When one enjoys it, they will sip and savour.”

(lowkey worried im writing armand a little too hannibal…)

YAAAAAAY YOU'RE WRITING MORE I'VE MISSED THEM SOOOOOO MUCH. imagining them at a gallery opening is so fun ... also wondering how daniel feels ab armand's art etc. yeah i love them

[movedtodykedvonte]

No cause the moment they discover Spidey is barely in his 20s, like hasn’t even reached it, their perspective changes wildly.

This isn’t some annoying dude fucking with them anymore, this is a kid with a sense of justice and they respect the bravery it takes to come out here as a child and fight the likes of them. Even if they find it incredibly dumb and overly self-sacrificial. They don’t throw their punches but they miss more. Their plans are just as dire but straight forward, easier to thwart. Not intentionally, just the subconscious thought and agreement they don’t want to be the one specifically responsible for death of a child. 

Like imagine in battle Spidey sacrifices himself and they all just gotta be like “Yeah we did it!” for like the news only for the inside of their heads to be like “That is a child.”

[i3utterflyeffect]

"King, once I learn where he is hiding , I will be able to bring my animator to this world so I can kill him. After that, you are free to go and I will help you get your child back."

"what the ACTUAL FUCK"

just a silly dialogue I thought of

NO BUT LIKE, FOR REAL.

[amethystmpress]

the black bastard & the stormborn (daredevil and elektra au) ✩

you desperately want to belong somewhere, with someone, which is the real reason why you sneak into fancy parties... you know what your problem is? you're pretty, you even work the blind thing, but you're dumb.

is it good? this uh... life as a queen. it's fantastic. but i would trade it all in for a lifetime of smelling your skin.

there is always this glorious darkness inside of you, the blood of the dragon and the wolf. that's why i took you to petyr baelish, and yes it's why i loved you, that's why you loved me too. don't deny what we have.

i want to know how you found me. i know who you are because lord bloodraven trains me in his visions. i saw you beat down the bolton bastard. i wear a mask. well, you can't mask that ass. i'd know it anywhere.

so, what if... from now on... if we make it... wherever you run, i run with you? you're not serious. i've never been more serious. this... dany, this is a part of me that i need. and you're the only one who gets it. without this, i'm not alive. i'm not. not really. i don't know what we are together, and if we have any chance in the future... but i do know that i'm free with you. like with no one else.

HAPPY NEW YEARS (BIRTHDAY) SOFI ♥