#how did you use to deal with them?

[cecoeur]

it's hell on earth to be heavenly them's the breaks, they don't come gently

[ninadove]

Hello there.

[Slides elegantly into the tags]

Do you ever think about Emotion?

Of course you do. How could you not. But do you ever think about this exchange specifically:

“You’re not Adrien!”

Because Adrien is sweet, and forgiving, and kind. In fact, kindness is his defining quality — Marinette herself made sure of it:

“I’ll never tell another boy I love him before I know everything about him! Whether he’s kind or not, thoughtful, what he does outside of school and with who… I’ll know everything.”

But.

Do you ever think about Adrien’s development in S4 and especially S5?

Overtime, he has grown resentful of a system that exploits him relentlessly.

Of the people he gave countless chances to, only to be let down over and over again.

Of the web of lies and half-truths he constantly finds himself tangled into. A web that is only growing bigger, stickier, and trickier to escape.

And the Senticousins. Do you ever think about them?

Do you ever think about how they are each other’s reflection, identical and opposites all at once?

“When you bring a living being into this world, you have a responsibility towards them. Your duty is to protect them, love them, help them discover the true meaning of their existence. To deprive them of that… is monstruous.”

“To have a child is to help them blossom, to grow, to find themselves and to be free!”

Do you ever think about their opposite character arcs in S5 — one learning mercy and trust, the other developing a rage so strong it could destroy the world?

Do you ever think that if Felix can now have this exchange with his mum, and mean it:

“They’re all monsters!”

“Not all of them.”

Then there’s nothing stopping Adrien from saying this:

“Look closer, Marinette. They’re the monsters.”

[dykedvonte]

Honestly I see Jimmy's refusal to put Curly out of his misery less about his weird feelings of envy or his delusions but the fact Curly is all but stated to be a shield to Jimmy from his actions and people seeing the worst in him.

The only characters that Jimmy really interacts with one on one before the crash are Curly and Anya, two individuals he has wildly different relationships with. It's likely that Curly really did most of the talking between them as the pilots and the rest of the crew as staff. They didn't know of Jimmy's more reprehensible behaviors cause they never really had the chance to and Jimmy is subconsciously aware. If they had disliked him more than Anya would have told Swansea earlier or even Daisuke when things got really bad.

It's why he takes the immediate opportunity to blame Curly; He's the shield. He's saved Jimmy's ass more times than he can count and more times than Jimmy would ever admit. Even when he can't really do it anymore, he mentally shields himself from his own faults by putting Curly between them. Letting Curly die puts too much on him because he doesn't know how to function without a safety net.

In the end Curly only lives because Jimmy needs the idea that Curly will inevitably make things better to stay alive, meaning Curly has to live, no matter how much it pains him to do so.

[unfinishedslurs]

prank gone wrong (viral!) (steddie)

Eddie’s been someone’s dirty little secret before.

He’s got a type, okay? Unfortunately hot jocks are often the type of asshole to get sucked off behind the bleacher and then turn around and spit in his face about it. Going right back to their friends to talk shit about what a freak Eddie is, never mind the fact that his mouth still tastes like their nasty fucking jizz. He’s used to it by now. Used to people who pretend they barely know each other. He’s not asking they parade their relationship for the whole town to see, just someone who doesn’t pretend they’re strangers. Is that too much to ask? 

He’s so fucking stupid. He really thought this time would be different.

Steve Harrington barreled into his life like a goddamn train and Eddie’s been derailed ever since.

The first time he met Steve he was six. Eddie still lived with his mom, and she took him to the park, where he met a little boy who wrinkled his nose and told him he smelled bad. Steve does not remember this, and turned red with mortification the first time Eddie told him

After that incredible hit to baby Eddie’s self-esteem, they didn’t interact much, existing on the periphery of each others lives. He figured it didn’t matter. Harrington was a year under him, and a douche besides. Was ready to leave town from the moment he learned to walk. As soon as he graduated, he could finally get the hell out of this place and never think about the assholes he went to school with again.

His mom leaves. His dad gets arrested. He moves in with his Uncle Wayne, who only has one bedroom in his trailer and won’t take no for an answer when he gives it to Eddie. 

Eddie doesn’t graduate.

(Harrington comes back to school different after Byers beats him up. Eddie doesn’t notice. He’s got bigger things to worry about.)

They don’t talk in Eddie’s second run of senior year either. He hears the gossip, sees him come to school with stitches in his forehead and no girlfriend. Still, it’s none of his damn business. He rolls his eyes at the rumors and stays far away from Billy Hargrove.

Steve Harrington graduates. Eddie doesn’t.

And this is where his careful distance falls apart.

It’s the mall’s fault of course. What isn’t? Businesses closing down, rent going up, his resolve crumbling. All over some fucking ice cream. God, Eddie should have just turned around. Left the store and the mall and the entire damn town behind. 

He’s aware he’s being melodramatic, but in his defense he’s queer in Indiana. He has a right to be. 

Anyways, the point is that Eddie saw Harrington’s little blue shorts and red lips and cannot be held responsible for what happened after. 

(They fucked. That’s what happened. They fucked, and kept fucking, and then after the mall burned down Steve showed up on his doorstep with suspiciously placed bruises and his coworker and looked at Eddie with pleading eyes. He didn’t even bring Robin home to her parents like a sensible person, just insisted on having her there because they were a package deal now and couldn’t be separated. Like puppies, Robin said when he looked at her. Last he checked, she wanted to bite Steve’s head off, and now they were attached at the hip?

He got used to it quickly. He had to. She comes on half their dates. Steve’s lucky he’s so cute.)

Now, nearly five months after Steve served him ice cream for the first time, he feels his heart shatter in the Hawkins High parking lot. 

“Harrington,” Dustin shouts, and it carries across the empty lot. Steve’s head jerks up and he waves, Robin standing beside him. “Steve, c’mere!”

Steve tilts his head. “What?”

“Come. Here.” Dustin repeats, enunciating clearly. Mike and Lucas look at him like he’s insane. So do Gareth, Jeff, and Chuck. 

Steve, who is standing a mere 20 feet away, turns to Robin and says something that makes her snort. Eddie can practically hear his bitchy murmur. 

“Is that Harrington’s girlfriend?” He hears Gareth ask. He has to swallow his laughter. 

“Yes,” Dustin says.

“No,” Mike corrects. 

“He won’t admit anything, but he always has a bunch of hickies and stuff after hanging out with her,” Lucas clarifies, because half the time when Steve says he’s hanging out with Robin he's actually with Eddie. The fact that Robin is usually still there is irrelevant. Marking up his boyfriend is one of his favorite pastimes. He refuses to let his boyfriend’s “soulmate” get in the way just because she refuses to sleep in one of the Harrington’s fancy guest rooms like a normal person unless he kicks her out. The way they both pout at him for it is fucking ridiculous. He ends up giving in half the time, and then lies awake and cold on the very edge of the bed because Robin starfishes her way across the rest and Steve is a blanket hog. 

The first time he tried giving Steve a hickey as some kind of dominance move for privacy, Robin stared him dead in the eye and didn’t back down. 

“I can do that too,” she said, and promptly bit Steve on the shoulder. Steve, who was shirtless and already slightly dazed from Eddie’s ministrations, let out an honest to God squeak. Like a dog toy. Eddie and Robin both stared at him before breaking into loud cackles that had a blushing Steve yelling at them before finally burrowing under the covers and refusing to come out. Needless to say, Eddie didn’t get laid that night. 

“Harring-ton,” Dustin whines. 

“I’m literally right here. You come here.”

He did, if only to grab Steve by the wrist and drag him to where everyone else was standing. Steve squawks. “When we’re late for dinner with Ma, I’m telling her it was your fault—“

“I want you to meet everyone!”

“I went to school with them!”

“Yeah, but they think you’re still a dick,” he says, as if they’re not standing right there. Steve is similarly engrossed in their conversation, not even noticing that Dustin’s stopped walking. 

“They can think whatever—“ he walks right into Eddie and lets out a startled oof. Eddie, who let it happen, catches him as he flails. 

“Well hello to you too,” he says, not bothering to hide his amusement. 

Steve looks at him with wide eyes, gaze dropping down to his lips before whirling around and snapping, “Henderson!”

“I didn’t do anything!”

“I didn’t do anything,” Lucas mimics under his breath, ducking behind Steve when Dustin turns around with the fury of a thousand suns in his eyes. 

He just stands there, hands on his hips as the kids bicker around him. 

“Oh, so now we can talk?”

“What’s that supposed to mean?” Steve asks, brow furrowed like he doesn’t know exactly what he’s talking about. 

Eddie can’t help but laugh, a sharp sound that makes Steve jump. “What do you think it means, Harrington? You never want to talk to me in front of the kids! Don’t want to dirty your hands with the Freak in public, I guess.”

“I…what are you talking about?”

[no talkie henderosn]

“What?” His eyes get wide, panicked, as he reaches for Eddie. “Eddie, that’s not—you have to know that’s not what I meant by that. I never meant it like that!”

“Then how did you mean it?”

Steve mumbles something he can’t make out. 

“Speak up, sweetheart.” It comes out mean, he knows it does, but he’s feeling a little mean right now. Lashing out like a wounded animal just because his boyfriend didn’t want to talk to him in public. 

Actually, when he puts it that way, he remembers he’s justified. 

Steve says something again, still incomprehensible. Eddie rolls his eyes. “If you can’t stop mumbling, I’ll just leave.”

That does the trick. “I thought we were playing a prank on Henderson together!” 

Eddie gapes at him. “What?”

“I thought,” he repeats, running an anxious hand through his hair, “we were pretending not to know each other to mess with the kid. Eddie, baby, you’ve gotta know I wouldn’t have done it if I’d known you were hurting. Why didn’t you tell me?”

“Why didn’t I…” This can’t be real. He’s been agonizing for months, and for what? A prank? Just some stupid, shitty prank Steve thought he was in on? He’s going to jump off the quarry. “Why didn’t you tell me? I could have had so much fun with that!”

“I thought you knew!”

“How would I have known? I can’t read your mind!”

“You can sometimes,” he says, pouting. Eddie wishes they weren’t in the middle of an argument, he wants to kiss those lips so bad. 

He groans into his hands. “It’s significantly easier to tell when your boyfriend wants to fuck than it is to read ‘Hey, let’s play a prank on this twelve year old,’ on someone’s face, sweetheart.”

“I guess,” Steve huffs. Then his face softens. Eddie lets himself be drawn in by the wrist, helpless in the face of his sweet smile. “We can stop,” he promises, swaying in close enough for his breath to ghost across Eddie’s lips. “We could walk into Hellfire tomorrow holding hands, if you wanted to. Anything you want, just say the word.”

“How would we walk into Hellfire? It’s at your house.”

Steve pinches him for that. 

[uncanny-tranny]

Something I realized (which was obvious to me subconsciously) is that... The family that vehemently didn't accept me when I first came out but now do accept me are still the same family that I am most unwilling to be open about things I feel protective over.

I remember that my dad reacted so poorly, not to my coming out, but to my transition specifically that my therapist was the one to ask if I wanted to put it on my file that I wanted nothing to ever be shared with him about my health after I broke down multiple times due to my anxiety that I would never transition. While there are and were protections for me, I was incredibly fearful at the time because I was a minor, and I was so worried that he would have prevented my transition that I couldn't have said for certain what (if any) lengths he would have gone to to prevent that.

He's grown a lot as a person, and made some commendable strides. But he didn't find out from me when I medically transitioned the second I turned eighteen, and I think that's among the things that truly made him realize the scope of the issue.

I'm not here to guilt trip parents, guardians, or other members responsible for the care of the children or teens or young adults in their care.... but this is a cautionary tale. You aren't saving the people in your care when you do this, you simply reinforce an idea that you will never care for them, never want them as they are, would rather them be shoved away.

When you give people reasons to be secretive, they will behave secretively. When you give people reasons to doubt their safety around you, they will become sneaky, defensive, and withdrawn. When you give people reasons to doubt that you value their life, they will believe that you don't care if they live or not.

[bleaksqueak]

Did you know that Procreate doesn't have a lot of the standard filter/effects tools that Photoshop and Clip Studio have? For the most part I'm A-OK fine living without those, but the one that boggles my mind is that Procreate doesn't have a stroke feature. I bring this up because I use stroke a lot for subtle things, and I use it a lot for graphic things (like comic binding boxes, lettering, etc.)... and, for the current illustration, I used it for almost the entire background. So do you want to know the stupid way to simulate the stroke effect in Procreate? SURE YOU DO. You have to duplicate the item, or lines, you want to have a stroke effect on... You then move it below your object/lines, gausian blur the duplicate beneath to 2 - 3%, then keep duplicating that blurred copy and merging it with itself until the extra selection of pixels created by the blur are, once more, solid. It's a lot of duplicating and merging. PROCREATE, PLEASE, THIS IS YOUR ONLY TRUE FLAW. Please add a stroke tool my family is starving.

[samuraisharkie]

I know I’m posting a lot of like. semi-bitter stuff and especially posts with frustration towards the Democratic Party and the liberals who refuse to look anywhere but themselves when it comes to why they failed, as well as acknowledging the fear and anxiety that comes with what we’re about to go through. But I want to say, that despite all of that and the awful feeling in my chest, I have so much compassion for the world. I still think we can fight for a better future, that it’s not over. We got this. It’s bleak but it was going to be no matter what, and we can make it. The results have inspired me to get even more active and try even harder, and I know there’s a lot of people that feel the same. We’ll all support each other, and we will make it. It’s going to suck, and I don’t want to put down the very real fear and danger folks are in— but I also don’t want to give in to that feeling of hopelessness and doom. There are so many people all over the world facing similar plights, or worse, and the least we can all do is keep fighting and supporting each other! Again I don’t want to step on the very real anxieties and fears and sadness from the results of this year’s election, I just feel some encouragement is in order amidst all the fear. For every person that refuses to turn on each other and continues to stand with all those who suffer just like us in our own homes and all over the world, we will be stronger for it. Take care of yourself, and take plenty of time to cry and fear of course, that’s not wrong, but don’t forget it isn’t over. There’s still a lot of love in this world!

[perenlop]

havent seen this take in a while thankfully but it popped up in my head and i wanna post this anyways. i think everyone who talks about how siffrin “got off too easy” at the end of isat and his friends should have abandoned him should go read warrior cats if they want an example of a character using their trauma as their god-given jailbreak card to treat their family and peers (a good amount of whom who were completely innocent) like dogshit, and who faces zero consequences from the narrative for it (and in fact bends over to blame their peers). like read all the shit jayfeather does while the narrative sobs over how tragic but awesome and quirky he is and then look me in the eye and tell me siffrin’s ending was poorly written.

[yardsards]

so apparently my roommate straightup Did Not Know that leaving your food out on the countertop for several hours can give you food poisoning. i thought when she brushed me off every time i told her to put her food away she was simply throwing caution to the wind. "ohhh, is that why i get sick so often?" FUCKING PROBABLY!!!

[lord-squiggletits]

Part of why I hate this fandom's take on Autobots vs Decepticons is ppl (mainly 'con fans honestly) who can't have any nuance of the situation whatsoever and love to write plots like "oh the humans are racist and abusive towards Cybertronians so this is how Megatron is right" no actually I don't think colonialism/imperialism and racism are justified so long as you can point the finger and say "they were the aggressors first" or "their hands are no cleaner than ours bc their society sucks too" sorry. Please come up with better sociopolitical narratives in your war story.

[telekitnetic-art]

Have you seen the formline art in splatoon? It's present in a variety of salmon run decals and on some of the locker graffiti. Idk if the Devs just googled "salmon art" and got indigenous art and decided to copy it or what. Not sure how I feel about it personally.

Long post incoming, gonna put a break here. Also sorry for the late response, I wanted to take a couple days to formalize my thoughts together before responding fully.

I have, I remember noticing in 2018-2019 (when i first started playing splatoon 2) how much one of the decals/graffiti located on the ruins of ark polaris back in 2 sort of resembled a formline bear and salmon. (near the logo in this screenshot, I couldn't find a clear picture online)

Back in 2019, it was pretty easy to think of it as coincidence or a stretch for a comparison. But with splatoon 3's salmon run decals, the resemblance is far easier to see, specifically with the TS-ORBRS graffiti and the TS-SCHL graffiti.

(also this was the best image size I could find for the graffiti images, sorry)

A couple of the banners have the designs on them as well:

The website Sealaska Heritage has info such as textbooks and an online doc about formline art (specifically geared towards Haida, Tlingit, and Tsimshian nations' style) with lots of info about formline art, and the Seattle Art Museum website has an info sheet (with credits listed as being from the Sealaska Heritage site as well) breaking down some of the basic shapes of formline art.

with this chart, you can definitely begin to notice the similarities between the Salmon Run graffiti and formline art. the ovoids, crescents, and u-shapes appear noticeably in some of the graffiti such as ORBRS and SCHL.

For perspective, here are some formline pieces featuring salmon or fish from various Indigenous artists from various nations.

"sk’ug sdang" (Two Dog Salmon) by Robert Davidson (Haida)

"metal medallion", by Crystal Kaakeeyáa Rose Demientieff Worl (Tlingit Athabascan)

"Salmon People" by Alano Edzerza (Tahltan)

"Jumping Chum" by Stephanie Anderson (Wet'suwet'en)

"Salmon" by Art Thompson (Nuu-chah-nulth)

And that's literally just the surface of dozens of Indigenous artists from the PNW.

With these pieces, you can begin to see the resemblance that the graffiti designs have. A lot of the heads follow the pattern of utilizing ovoids for both the head and eyes, and u-shapes for the bodies and crescents to fill in specific areas are also common. For example, TS-SCHL has a small school of fish where the bodies are entire ovoids.

However, there are a couple flaws in the graffiti designs too. With a few of the designs, you can see they utilize the u-shape (see the formline shape breakdown from Sealaska again) in designs like TS-WHP and TS-SMFR. I can't speak for every Indigenous formline artist ever, but from how I've been taught to design formline art from my family, the u-shape should connect to the rest of the form instead of free-floating. I drew a quick example here:

you can see similar mistakes with a different kind of u-shape with TS-RLPL and TS-C0HK.

Another very specific mistake that takes a bit of squinting to make out is that ovoids are sort of top-heavy, for lack of a term I can't think of right now. The line or the area should be thicker on the top then the bottom. This mistake is frequent in the graffiti designs utilizing ovoid or ovoid adjacent face or body shapes, like TS-ORBRS, TS-C0HK or TS-SCHL.

Full disclaimer, I am not an expert at formline art. I've been practicing it under the tutelage of my aunt and father for about 3 or so years now, and there are definitely cultural variations that come into play as well. My culture's formline art style can look completely different from someone who is Haida or otherwise. This critique of the graffiti designs is based off my knowledge and skill at formline art, as well as critique and feedback that I've gotten from family. Formline art isn't just something you look at and replicate, there is a specific process of utilizing the shapes and negative space that you need to account for too. Some shapes have their own rules for how they're used as well.

Despite the beginner mistakes, the clear resemblances are pretty definitive proof that a good section of the sticker/graffiti designs for the salmonids are meant to be, or at the very least based off of or inspired by, formline art.

Splatoon's lore has a lot of elements of taking inspiration from real life culture (which is sort of one of the main elements of the story, the squids and octos are basing their society off long dead humans). Hell, Shiver and Frye are two prime examples of Splatoon working in real world culture into their setting and characters.

With that in mind, using an art style that's exclusive to an ethnicity of people as inspiration or baseline reference for the game mode that's all about taking natural resources from a species that in-game dialogue tends to treat as dangerous and lesser-minded is... not a good choice. Especially an ethnicity that has historically been ravaged and attacked by settlers for natural resources.

Now, technically if you do digging into lore for salmon run, you can find out that the salmonid are not as simple-minded as the dialogue in-game (I am staring directly at the deep cut big run announcement dialogue we've gotten so far -_-) makes them out to be. The salmonids do trades and commerce with the octarians for equipment and gear. That's why they have such technically high tech gear, like the scrappers with their shields that actually resemble octarian shields and the flyfish with their missiles and flying aircraft. That's also why power eggs show up in the story mode; they're from the salmonids' trades with the octarians.

So the salmonid could technically be as just as smart as the inklings, which is why the dialogue and some of the portrayals of the salmonid are confusing and contradictory (shiver's dialogue from the first big run, that one promo picture of an inkling walking a smallfry on a leash????). I think a good bit of the fanbase sort of thinks of the little buddy we get during the game as a pet, and I'm sure that much more of the fanbase/playerbase doesn't really care about the lore whatsoever. Salmonids sort of have a similar vibe to me as hilichurls from Genshin Impact, where the lore tells you that they're smarter than people assume while NPCs talk of them as less intelligent monsters. And you're also caught in this paradox where killing/fighting them feels morally wrong but the gameplay loop has you continuously doing that while also telling you on the downlow that you should sort of feel bad about it.

Rassicas did a really good video on translating salmonid lore from various interviews, which is where I learned a lot about the salmonid lore that doesn't really get explained/brought up in the game.

The usage of formline art in Splatoon has me sort of mixed on my opinion, because besides using an Indigenous art style for an enemy species that are considered lesser in intelligence by the NPCs, Indigenous art and culture as a whole has suffered a lot under colonialism. I don't know how much awareness whoever is reading this has about Indigenous history and colonialism, but Indigenous culture as a whole was banned in North America by the respective governments from being practiced by the respective cultural groups. Things such as ceremonies, regalia, and even practicing formline art were banned from being used by Indigenous people. Non-Indigenous people however were free to use it, which is why a lot of bastardized versions of Indigenous regalia and culture exists. You can see it in non-indigenous spiritual practices utilizing Indigenous practices and terminology like spirit animals and dreamcatchers, and sports teams utilizing Indigenous culture in its labelling and mascots. That is where cultural appropriation comes into play. And before I get anybody commenting about this, the salmonid formlines don't count as "cultural appreciation" because as far as the info available is concerned, there wasn't any Indigenous people that were consulted for the designs. And even if there were, I again have mixed feelings about Splatoon utilizing an Indigenous art style as a design piece for an enemy character in the franchise.

On another note, this isn't the first time Indigenous cultural appropriation has popped up in the Splatoon franchise. There was actually a headgear that was unreleased in the first Splatoon game called "Warrior Headdress", and you can guess what it looked like.

Yeah. That was all levels of yikes and I'm thankful as hell that it didn't make it into the game (technically it's not in the game as a wearable item, but you can spot it at the very back of the headgear shop ingame)

So Splatoon has utilized Indigenous culture as inspiration beforehand with the games, so it's not much of a stretch anymore to think that the salmon run graffiti designs were based off formline art or was an attempt at formline art.

I'm not really sold on the idea that the salmonid are meant to be representative of Indigenous people though, nor do I believe that utilizing formline art for the salmonid was a malicious decision. But it was a slightly ignorant decision at best, because again using Indigenous specific art for a species of enemies that gets fought for their natural resources and is referred to by some of the NPCs as basically being lesser-minded animals is really not a good decision.

This whole thread is not meant as a guilt trip for anyone who likes the salmonid lore, has bought any of the salmonid graffiti stickers, or enjoys salmon run, nor is it an accusation of the devs for maliciously misusing Indigenous culture. I actually really enjoy salmon run for it's PSP and concept, but this design aspect gives me mixed feelings as an Indigenous person. And to be honest it's hard to label intentions or the thought process because there isn't any info available on the development of salmon run and those graffiti designs specifically. So it's hard to know if the devs employed an Indigenous artist for feedback or if they indeed just looked at some formline art of salmon and tried to replicate it or used it as inspiration. I'm inclined to believe the latter judging by the beginner formline mistakes seen in some of the designs. There is an art book coming out soon for Splatoon 3, so maybe that will give more info.

To wrap this all up, I don't think there is really anything to be done about the designs. The game has been out for a while and I don't know if the game would change the designs at this point. I also don't think this should stop people from buying the sticker designs in game or playing salmon run. However, it is important to learn about the context of these designs so that you know why they exist and why they can be harmful, and so devs and creators can avoid making the same mistake in the future, and so Indigenous issues with cultural appropriation can be made more aware in the public space and not be ridiculed by non-Indigenous people. And again, I am just one Indigenous person so there may be other opinions from other Indigenous people on the graffiti designs and how they should be handled or viewed.

If you made it this far, thanks for reading and have a good day!! Be sure to check out some actual Formline art made by Indigenous people, like the ones I listed near the top of the post!

[wundrousarts]

headcanon that edgy Nevermoorian teens make cringy wundersmith ocs with wildly inaccurate lore and there’s a whole forum dedicated to role playing them. Morrigan finds said forum.

This is actually what the group from the blurry Silverborn snippet is, tbh.

JK, but I was inspired. Enjoy.

Text version of the chat:

MaximillianMårtensson: Finally, I’ve mastered all 9 of the Wretched Arts….. tch *shadow clouds his face, and he starts to chuckle* Lyd1aDr1sc0ll: i mastered all 10 :3 Xx_EsterOtten_xX: SKILL ISSUE. I’ve mastered 12 🔥💯💪 GigiGrand: hi i;m famous singer gigi grand MaximillianMårtensson: // STOP. Xx_EsterOtten_xX and GigiGrand are typing…

[ukulelegodparent]

Just went to uni and instead of doing anything spent 3h agonising about ending my relationship. I'm sure this is good and normal

[uncanny-tranny]

The whole "humans are inherently awful and bad!" spiel is so tiring to me as a survivor of abuse because it comes off as abuse apologia. If humans are inherently awful, then why should it matter if you're abused - that's what humans do best! Like, genuinely, I think this mindset can harm abuse victims/survivors because they're being inundated with this idea that, well, how bad can their abuser be? All humans are horrific, why complain, why escape, and why try to resist it?

I really wish people would critically analyze where these ideas come from and where these lines of thinking can lead. Maybe it's a matter that I'm looking too deep into, but this very bleak ideology is not going to help in the long run, I think, and some of the first people who are going to be crushed by it are the people who are vulnerable or who are put in vulnerable positions in society.

[acourtofquestions]

Rowaelin Chapter 41 Kingdom of Ash:

She'd rebuild it—what she had been.

Perhaps one last time, perhaps only for a little while, but she'd do it. If only for Terrasen.

Rowan swooped from the mast, shifting as he reached her side at the rail. He surveyed the night-black sea beyond them. "You should rest." She slid him a glance. "I'm not tired." Not a lie, not in some regards. "Want to spar?" He frowned. "Training can start tomorrow."

"Or tonight." She held his piercing stare, matched his dominance with her own.

"It can wait a few hours, Aelin."

"Every day counts." Against Erawan, even a day of training would count.

Rowan's jaw tightened. "True," he said at last. "But it can still wait. There are ... there are things we need to discuss." The silent words rose in his animal-bright eyes. About you and me.

Her mouth went dry. But Aelin nodded In silence, they strode into their spacious quarters, its only decoration the wall of windows that overlooked the churning sea behind them. A far cry from a queen's chamber, or any she might have purchased as Adarlan's assassin.

At least the bed built into the wall looked clean enough, the sheets crisp and stainless. But Aelin headed for the oak desk anchored to the floor, and leaned against it while Rowan shut the door.

In the dim lantern light, they stared at each other.

She'd endured Maeve and Cairn; she'd endured Endovier and countless other horrors and losses. She could have this conversation with him. The first step toward rebuilding herself.

Aelin knew Rowan could hear her thundering heart as the space between them went taut. She swallowed once. "Elide and Lorcan told you... told you everything that was said on that beach."

A curt nod, wariness flooding his eyes. "Everything that Maeve said." Another nod.

She braced herself. "That I'm-we're mates."

Understanding and something like relief replaced that wariness. "Yes."

"I'm your mate," she said, needing to voice it. "And you are mine."

Rowan crossed the room, but halted a few feet from the desk on which she leaned. "What of it, Aelin?" His question was low, rough.

"Don't you..." She scrubbed at her face. "You know what she did to you, to ..." She couldn't say her name. Lyria. "Because of it."

"I do know."

"And?"

"And what do you wish me to say?"

She pushed off the desk. "I wish you to tell me how you feel about it. If…"

"If what?"

"If you wish it wasn't so."

His brows narrowed. "Why would I ever wish that?"

She shook her head, unable to answer, and stared over her shoulder toward the sea.

It seemed like he would close the distance between them, but he remained where he was.

"Aelin." His voice turned hoarse. "Aelin."

She looked at him then, at the pain in his words.

"Do you know what I wish?" He exposed his palms, one tattooed, the other unmarked. "I wish that you had told me. When you realized it. I wish you had told me then."

She swallowed against the ache in her throat. "I didn't want to hurt you."

"Why would it ever hurt me to know the truth that was already in my heart? The truth I hoped for?"

"I didn't understand it. I didn't understand how it was possible. I thought maybe ... maybe you might be able to have two mates within a lifetime, but even then, I just ….." She blew out a breath. "I didn't want you to be distressed." His eyes softened. "Do I regret that Lyria was dragged into this, that the cost of Maeve's game was her life, and the life of the child we might have had? Yes. I regret that, and I wish it had never happened." He would bear the tattoo to remember it for the rest of his days. "But none of that was your fault. I will always carry some of the burden of it, always know I chose to leave her for war and glory, and that I played right into Maeve's hands."

"Maeve wanted to ensnare you to get to me, though."

"Then it is her choice, not yours."

Aelin ran a hand over the worn wood of the desk. "In those illusions she spun for me, she showed me variations on one more than all the others." The words were strained, but she forced them out. Forced herself to look at him. "She spun me one dreamscape that felt so real I could smell the wind off the Staghorns."

"What did she show you?" A breathless question.

Aelin had to swallow before she could answer. "She showed me what might have been—if there had been no Erawan, if Elena had dealt with him properly and banished him. If there had been no Lyria, none of that pain or despair you endured. She showed me Terrasen as it would have been today, with my father as king, and my childhood happy, and..." Her lips wobbled. "When I turned twenty, you came with a delegation of Fae to Terrasen, to make amends for the rift between my mother and Maeve. And you and I took one look at each other in my father's throne room, and we knew."

She didn't fight the stinging in her eyes. "I wanted to believe that was the true world. That this was the nightmare from which I'd awaken. I wanted to believe that there was a place where you and I had never known this suffering and loss, where we'd take one look at each other and know we were mates. Maeve told me she could make it so. If I gave her the keys, she'd make it all possible." She wiped at her cheek, at the tear that escaped down it. "She spun me realities where you were dead, where you'd been killed by Erawan and only in handing over the keys to her would I be able to avenge you. But those realities made me ... I stopped being useful to her when she told me you were gone. She couldn't get me to talk, to think. Yet in the ones where you and I met, where things were as they should have been ... that was when I came the closest."

His swallow was audible. "What stopped you?"

She wiped at her face again. "The male I fell in love with was you. It was you, who knew pain as I did, and who walked with me through it, back to the light. Maeve didn't understand that. That even if she could create that perfect world, it wouldn't be you with me. And I'd never trade that, trade this. Not for anything." He extended his hand. An offer and invitation.

Aelin laid hers atop his, and his callused fingers squeezed gently. "I wanted it to be you," he breathed, closing his eyes. "For months and months, even in Wendlyn, I wondered why you weren't my mate instead. It tore me up, wondering it, but I still did." He opened his eyes, and they burned like green fire. "All this time, I wanted it to be you."

She lowered her gaze, but he hooked a thumb and forefinger around her chin and lifted her face.

"I know you are tired, Fireheart. I know that the burden on your shoulders is more than anyone should endure." He took their joined hands and laid them on his heart. "But we'll face this together. Erawan, the Lock, all of it.

"We'll face it together. And when we are done, when you Settle, we will have a thousand years together. Longer."

A small sound came out of her. "Elena said the Lock requires—"

"We'll face it together," he swore again.

"And if the cost of it truly is you, then we'll pay it together. As one soul in two bodies.

Her heart strained to the point of cleaving. "Terrasen needs a king."

"I have no intention of ruling Terrasen without you. Aedion can have the job."

She scanned his face. He meant every word He brushed the hair from her face, his other hand still clasping hers to his chest, where his heart pounded a steady, unfaltering rhythm.

"Even if I had my choice of any dream-realities, any perfect illusions, I would still choose you, too."

She felt the truth of his words echo into the unbreakable thing that bound their very souls, and tilted her face up toward his. But he made no move beyond it.

She frowned. "Why aren't you kissing me?"

"I thought you might want to be asked first."

"That never stopped you before."

"This first time, I wanted to make sure you were ... ready." After Cairn and Maeve. After months of having no choices whatsoever.

She smiled despite that truth. "I'm ready to be kissed again, Prince."

He let out a dark chuckle and muttered, "Thank the gods," before he lowered his mouth to hers.

"You're my mate." Her words were a breathless rush. "And I am yours."

The world might have been burning around them for all she cared, all he cared, too.

"Together, Aelin," he promised, and she heard the rest of the words in every place their bodies joined. Together they would face this, together they would find a way.

Together we'll find a way, their mingling breaths, the crashing sea, seemed to echo.

Together.

[trinitea-fics]

I am of the opinion that the best type of opening numbers in musical theatre are thesis statements. The one that doesn't reveal much in the way of plot, but is instead meant to set the tone and themes of the show.

ie. the opening numbers of Merrily We Roll Along, Falsettos, Maybe Happy Ending, Spring Awakening, Ghost Quartet etc.