#i have Thought About This lolol

[bigcats-birds-and-books]

⚠️ - If this oc came with a warning sign, what would it be? ☔ - How does this oc feel about rain? -> for lucius

🦷 - Would this oc ever bite someone? 💛 - Are they ‘good with children’, or more awkward? -> for an oc of your choice!

hello!! thanks for asking!! referencing this post:

⚠️ - If this oc came with a warning sign, what would it be? (lucius)

"CAUTION: CLEVER DUMBASS" in the biggest, brightest, UV-flecked letters out there (fine print: "this individual WILL do inadvisable shit at the drop of a birdkid off a cliff, no you will not have time to blink, yes he can safely fall that far, no that's not the only thing that will surprise you, proceed with caution")

☔ - How does this oc feel about rain? (lucius)

he loves non-compulsory rain, by which i mean he likes to Enjoy and Appreciate Storms, but he does NOT (!!) appreciate being required to Do Things in it. he likes to curl up with a book and tea when it's real bad out there, and he has been known to enjoy the occasional rainy run on his own terms, but he WILL make Very Bad Decisions if someone oasis demands that he Participate In Activities In Rain.

🦷 - Would this oc ever bite someone? (dealer's choice)

jorge has and would (although not lately). driscoll, my beloved monster child to whom i am returning next month, has one (1) close call, and feels bad about it for the rest of their very long life. (jury's still out on whether or not FarFuture!Driscoll bites marshall or crimson, although i'm currently leaning toward nah--biting your fellow semi-eldritch horrors is the recourse of those who can't do Weirder Shit although we could do Weird Biting, i spose.)

💛 - Are they ‘good with children’, or awkward? (dealer's choice)

jorge is good with kids! driscoll actually is, too, although they sometimes feel awkward around them (because driscoll can't always tell how old a kid is and/or how much they can handle, and dealing with Tiny Humans and their Huge Feelings during Active Misplacement Events with a side of Monster Activity is. fraught.).

thanks again for asking!!

[uldren-sov]

the reality (not the expectation) of what it's like sleeping with Seven Lawless. - Camy Rose ~dated five years ago~

Comm'd the amazing and talented @aevari tysm bestie!! Of yet another meme of my OC Camy and @infamous-if 's most divisive clingy sleeper Seven Lawless

Blank version under the cut!

[stromblessed]

Mizu was wrong to let Akemi be taken because they both deserve better

First, a confession. When I saw this for the first time:

I was relieved. I knew that was what Mizu was going to say and I felt like it's what I would have said in that situation too.

When Akemi does this:

I cringed, because if we know anything about Mizu, it's that she (1) isn't quick to make friends (though to be fair, even though Akemi did try to kill Mizu, so did Taigen - multiple times! - and look how that turned out lol), and (2) doesn't take orders.

So when Akemi and Ringo and later Taigen get angry at Mizu, are they being unfair?

Sure, Mizu isn't obligated to treat Akemi - or Taigen or Ringo or anybody else - nicely, or to serve them, or to be honorable, or be a hero to them, or whatever. No human being is obligated to any other human being. We all have the choice to do whatever we want to anybody else. But the point of flawed characters in storytelling is the tension between those characters and their potential. Their growth into someone who can choose the higher, harder path, who chooses to be obligated to others, who chooses kindness and compassion.

Because Mizu's problem isn't revenge. Nobody is preaching at Mizu that revenge isn't the answer. Her circumstances do suck, her life has been incredibly unfair, she is marginalized, and as far as we and Mizu know for most of the season, she is a child born of violence and no one is saying that that violence doesn't deserve to be repaid in kind.

Mizu's problem is isolation. And the fact that she thinks she has no responsibility toward her fellow human beings, because her hatred of her own circumstances and her having no life outside of her quest devours everything else. This is a problem because it turns Mizu into the worst version of herself. A version that hurts the people who like Mizu, the people who care about her.

Practically, Mizu has just taken on an entire army almost by herself. She's hurt. She's exhausted. If she were to defend Akemi now, it'd be yet ANOTHER fight, this time against horsed and armored samurai.

But that's not the reason Mizu gives Ringo. Mizu's ability or willingness to fight isn't even on her mind. All she says is, "She's better off."

"She's better off" is Mizu deciding what's best for Akemi. Akemi's entire story is about her being a caged bird longing to fly free.

One after the other, every man and woman in Akemi's life makes her decisions for her. She has to grovel and smile prettily and lie through her teeth just for the chance to be heard. Mizu judges Akemi for being a rich princess who isn't being more grateful for what she has, all without understanding Akemi's situation, and without any curiosity for why Akemi feels the way she does. From Akemi's perspective, Mizu is just one more person (one more man!) in a long lineup who ignores Akemi's wishes and (casually!) makes a decision for her that impacts Akemi's life greatly.

In the end, even Seki concludes that Akemi should get to decide what's best for Akemi. What others think that Akemi SHOULD want does not matter compared to what Akemi wants for her own life. As Madame Kaji said - Madame Kaji, who despite calling out the weirdness of Akemi's situation as well as the childishness of her decision to run away - is the only person Akemi meets who doesn't try to make decisions for Akemi, but instead only challenges Akemi to work for and be worthy of what she wants - she needs to decide what she wants for her own fucking self, and then take it.

Mizu being born female does not make her automatically wiser for letting Akemi be taken, and it does not preclude her from having a hand in giving Akemi back to her jailers. A patriarchy that Mizu knows full well would stop Mizu from achieving her own goals if she didn't present as male.

Mizu is still understandable here. She just had to kill Kinuyo, a disabled girl sold by her father into prostitution, a girl in a situation so far beyond Akemi's worst imaginings that I can practically feel Mizu's world being rocked just by comparing them in her mind the way she most likely is. That still doesn't make it right for Mizu to let Akemi be carried off to be sold into marriage by her father against her wishes. Those "good options" Mizu thinks Akemi has don't exist, no more than they ever existed for Mizu. Akemi and Mizu both have to get creative, make the best of their circumstances, take dangerous risks, and break rules in order to have any control over their own lives.

Even on my first watch, when at first I thought that Mizu had made the right decision and that Akemi was being unreasonable, Akemi screaming Mizu's name while being dragged, LITERALLY DRAGGED, back to her father was haunting as hell.

Mizu had the power to help Akemi, and simply chose not to.

Mizu lets Akemi be taken, Akemi who has just begun to trust Mizu. Mizu calls Ringo weak and quickly - seemingly easily - turns her back on him. Mizu values her quest over Taigen's life, after Taigen has endured days of torture to protect her, and she not only risks his life in the process, but doesn't tell him that Akemi is engaged to someone else, or that she came looking for Taigen, or that she is in danger.

Mizu's sword breaks because it is too brittle. Too pure. Too singleminded. Mizu only melts down the meteorite metal when she mixes the metal with objects from parts of her life that have nothing to do with her quest. Objects from the people she cares about, and who care about her.

All I'm saying is - Mizu doesn't have to be a hero. But she is the better version of herself when she reaches out to help and connect with others. When she's just a decent, kinder human being. And I think that's what this story is telling us that we should want for Mizu.

[l3viat8an]

MC: I’m officially self-undiagnosing there's nothing wrong with me!

Lucifer: That’s not how that works.

MC: Says who??

Lucifer: Me.

MC: And since when do I actually listen to you?

[ragnarokhound]

thinking fondly of you<3 want to ditch the kids and go to a winery this weekend? (drink some red wine(supernova))

also thinking fondly about jaytim. specifically, about how oftentimes we think of them as a slow burn… but you know what might make them a fast burn (an explosion?)?

one of them gets kidnapped and everyone thinks they’re dead:( but then they’re alive

Always, love, I'm sure they'll be happy to spend some time with their favorite familial babysitters, I'll give them a call tonight🍷💥

And OUGH. Yes. SUCH a classic action hero hurt/comfort trope, I'm always here for mortal peril being the trigger that forces a couple to realize what they mean to each other and that they WANT to take that chance!!

I am reminded strongly of one of feyburner's comics that I love so much... in this comic they were hooking up beforehand and this is the scenario that like. Makes it emotionally REAL for Tim and i love that sooo much... but also OwO

thinking about The Scenario:

One of them is kidnapped. Due to inspo in part from feyburner's comic, I'm thinking Jason. But it's been so long/the method in which he was taken leads everyone to believe that Jason's dead. EVERYONE. Tim included. Thinking that he's dead hits Tim harder than expected. Why? It doesn't make sense. I didn't even like him that much, what the fuck.

But he goes after the bastards who did it twice as hard, ridden by this sharp grief he didn't know he would feel. He's on a warpath. He's chasing down leads, shaking down goons, snapping at everyone that it doesn't matter that Jason's already dead this is about justice this is about vengeance this is about preventing it from happening again-- and finally finds the Organization's big base. Their big HQ.

Methodically he goes about tearing it down, one-man guerrilla style. As he moves through the complex, KO'ing goons, sabotaging weapons and computers, hell he might even rig this place to blow--

He picks up chatter about moving the 'livestock' and 'dealing with the troublemaker' and figures there must be human prisoners here. Possibly trafficking victims. He's been raising all kinds of hell, and security is just now going on alert as they find the evidence of his entry--

--when over one of the radios on the goons he just took out, Tim hears a very familiar and very alive voice taunting the Organization that he's out. They should have killed Jason when they had the chance.

Tim immediately factors Jason and the victims into his plans, gets in contact with Jason over the radio (full mission mode, no time for feelings or explanations yet) to work together on bringing this place down.

So by the time things are cleared up-- bad guys busted, victims rescued, base blown to smithereens-- Tim has been wildly coming to grips with the fact that Jason is alive after all and the confusing rush of emotions that's inspired in him, but Jason still has no idea that everyone thought he was dead.

So when Tim finally sees Jason in person, missing half his gear and still wearing the clothes he was snatched in, dirty and bloody and asking what took him so long-- he's not exactly thinking clearly, okay? Kissing him was a purely adrenaline/relief fueled action.

"Woah," Jason breathes once Tim gives him the chance. "What was that for?" "Thought you were dead," Tim muffles against the skin of Jason's throat. His pulse beats hard against Tim's cheek, his lips, sternly refuting the allegations. "Oh," Jason says, bowled over and bewildered. He's still holding Tim with an arm around his waist, his other hand cupping the back of his head, big and steady. "Well. I'm not." Tim squeezes tighter, his fists trembling in the back of Jason's shirt. Jason is solid, and warm, and alive-- and Tim might be in love with him. "Yeah," he apologizes. "Sorry. Had to check." Tim's clearly stumped him. "Huh." Tim doesn't let go. But neither does Jason. Jason clears his throat. "You know, I don't have the best track record with being alive after all," he says in a rambling tone so casual it makes Tim's chest hitch. "You maybe wanna... check again?"

[gods-perfect-idiots]

something something blood-soaked hands cradling your face something something

anyway here's the post btw

[starbiology]

nothing makes me feel quite as crazy as how I made an artificer faerie right before the faerie artificer plushie came out. Because I read Brynn's neopedia article about her and Hanso being tasked to locate and recover ancient faerie artefacts and wondered who had made those artefacts

and I was making up random lore about tdf and figured itd be neat if her mom was involved with the court,

im going to bang my head against a wall like you cannot believe how insane this makes me about never finishing this draft page

more of this page (its a giant sketch page)

[speevtheteev]

Spoilers for Mouthwashing and Of Mice and Men (Book)

Just a random thought I've had about the scene where Swansea mercy kills Daisuke... It reminds me a bit of the scene in the book Of Mice and Men I read a while ago, specifically the ending where George shoots Lennie.

Its been a few years, so I might get a few details wrong (I'm not going to reread an entire book right now asjdajs) but basically George decides killing his friend Lennie would be a mercy compared to what would happen to him if he was left alive. He doesn't want Lennie to be scared, so he distracts him by talking about their dream, and making Lennie look into the distance.

The circumstances are veerry different (Daisuke is bleeding out, Lennie isn't injured as far as I remember...) but idk. It reminds me a lot of how Swansea tells Daisuke to close his eyes (so he can't see the axe coming) after going on a monologue about how Daisuke could never have turned out like him.

Anyways, just a similarity I randomly thought of! I doubt it's a reference to the book since this is probably just a common trope that comes with mercy killing in stories, but idk its been on my mind for a few days :P

[jessicas-pi]

*randomly materializes from the void* SURPRISE FIC SNIPPET!

---

Obi-Wan should feel at least a little exasperated at the confession Yoda had teased out of Ezra, but all he can manage is a sad wistfulness.

Ezra is about the age Obi-Wan was when he and Duchess Satine parted ways. Obi-Wan can’t help but think that he might have been very much like Ezra, if Satine had said the word—or if he had known about her child.

But such things are in the past, and Obi-Wan tries not to dwell on what could have been. 

Regardless, Ezra had stared shamefacedly at the ground the whole walk to Yoda’s home while Luke peppered Obi-Wan with confused questions, and he only perks up once he tries some of Yoda’s nefarious stew.

Obi-Wan glances at Yoda, who was looking a bit judgmental up to this point, only to find that the wizened Jedi is very close to smiling at the boy.

Well, Ezra is the only one who has yet been able to handle Yoda’s cooking, so it makes sense.

“I just don’t get it,” Luke says, slouching and picking at his food. “My father was married.”

“Anakin Skywalker…” Obi-Wan begins, trying to think of a delicate way to say this, then deciding there isn’t one. “…was terrible at following rules.”

“But he did it,” Luke insists.

Ezra pipes up around a mouthful of stew. “Yeah, well, your father also tried to kill all of us, so it’s understandable that Master Kenobi isn’t promoting him as a role model.”

Silence falls over the hut.

“Huh?” Luke asks.

Ezra wipes his mouth with the back of his hand. “Uh, your dad tried to kill me? Vader?”

Luke looks confused. “Darth Vader? No, that’s not—you’re confused. My father is Anakin Skywalker.”

“Who is Darth Vader,” Ezra adds slowly. “You… you all know that, right?”

[wis-art]

Women, so pretty, so shaped, i am so lesbian,,,

[chloecherrysip]

Mario protecting Luigi

[hallwyeoo]

Ellie’s memory of the golfing scene and what it tells us about her.

🚨spoilers for tlou2🚨

I think Ellie’s flashback to Joel’s death is very telling of how she internalized the event and the meaning she applied to his death. It’s also a good demonstration of her relationship to autonomy. Let’s break down the elements that were inconsistent with the actual event:

The stairs/hallway are much longer than they were. This suggests a sense of helplessness, an inability to get there fast enough. Joel is constantly out of reach.

There is blood on the floor outside of the door. Not entirely certain on this one but my hunch is that she blames herself for not seeing more obvious signs of violence/not knowing something was wrong sooner.

The door is locked, another roadblock in her path to Joel. She can’t access him, she can’t help, he needs her and she isn’t there.

Most importantly. Joel yells “Ellie, help me” (which he didn’t in the actual scene, he just screams. He doesn’t say a word in the actual scene)

Ellie hearing Joel scream for her help, calling for her while being horribly beaten, and her being repeatedly impeded on her way to him suggests that what she took away from his death is that she wasn’t enough. They always helped each other, always had each others backs, always got up. Ellie views his death as a failure. She was too slow, too weak, not smart enough to save him. She failed him when he needed her most. She is absolutely helpless to save him, just like she was helpless to save Riley, Tess, Sam, and Jessie (and Marlene, and humanity, and and and-).

Once again, Ellie makes a decision (staying with Riley, going to the fireflies, staying with Joel, being the cure, trying to forgive Joel) and once again her autonomy and ability to find closure is ripped from her.

This is the inciting incident of tlou pt2, this is the moment where Ellie’s whole world shatters the same way Joel’s did at the start of pt1. Ellie enters into the same cycle (which I like to call the “Joel cycle” because… yeah.) that he did, and throughout pt2 she stays in the “20 years later” phase of the cycle. She is changed, she has lost her light, lost what she fought for. She lost her chance to genuinely forgive Joel and rebuild their relationship. She is stuck in a gruelling and violent world that she has no anchor in, at least not anymore. His death is so sudden and so incredibly violent that it practically gave her (and me as well, tbh) whiplash. She’s in a state of total shock.

On another devastating note, this is one of the three times in tlou that we see Ellie beg (that I remember). The first is begging Joel to get up at the university of Eastern Colorado, the second is begging him to get up and for Abby to stop, and the third is begging Abby to not kill Dina because she’s pregnant. (Two times she begs Joel to get up, one time he doesn’t. Two times she begs Abby to spare her family and one time she does. What a beautifully haunting contrast)

To wrap up, every person creates an internal narrative, a story of their life that is crafted from their context and lived experiences. The meaning we derive from those experiences doesn’t always reflect the truth, and that can sometimes bite us in the ass majorly when we experience a traumatic event. We tend to want to find someone or something to assign blame to, some reason or rationale to why it happened. We tell stories. We write them in our minds about ourselves and what happens to us and what that says about us.

But Ellie is wrong. Joel’s death happened in response to a conscious and willing choice he made. It is in no way her fault, and there was absolutely no way for her to know or to stop what was happening. I think Ellie knows that much on an intellectual level, It just doesn’t change how devastated she is over the whole event. It can’t change the fact that she FEELS as though this was all her fault, that Joel did what he did to save her, that she could have saved him. That she should have.

[disposal-blueeee]

( stereotypical mexican music starts playing

[throwawayasoiafaccount]

I love that one of the roles fire plays in this series is to represent how all consuming desire can be, and how it’s framed as something that can be world ending when uncontrolled.

So naming unnatural, untamable green fire ‘wildfire’ is therefore a stroke of genius. It’s the representation of how we humans manufacture our own doom in the pursuit power, of how uncontrolled desire will eventually blow up in our faces.

And the fact that barrels and barrels of it sit fermenting under Kings Landing, Westeros’s breeding ground of maniac desire, and the capital the ambitious and corrupt flock to for what it promises? It’s perfection!

[squuote]

would it be too far of a reach to say something along the lines of like, tsp is about consequence of choices (even if those actions are predetermined, you are still choosing to go through with those choices to see it to the end) while tspud is about how choices have consequences but it's the only way new doors will open. or something. does that make sense.

[cold-neon-ocean]

I'll truly die on my Baatar/Asami besties agenda like they're both smart, rich bitch, engineers who come from family money, you CANNOT tell me they wouldn't have the absolute most Donatella-by-LadyGaga coded friendship of all time. Even when on opposing sides they still go to brunch to gossip, talk the latest in fashions, architecture, and innovations, while also waging subtle psychological warfare on each other trying to get information from the other. And when things actually get serious and everyone else is throwing hands the absolute WORST thing they could do to each other is say something like "Brunch next Tuesday? It is OFF." or "Oh and your outfit. A bit tacky wouldn't you say?" and the other would take ACTUAL PHYSICAL damage from that LOLOL worse than if they'd literally fought each other hand to hand, it's so serious for them.

Then weeks later at some social/political gathering they are standing next to each other not making eye contact and be like "I am NOT talking to you. However-" and then proceed to gossip like nothing happened askdjf please I need their friendship so badly it's my FAVORITE. Korra and Kuvira are standing there looking at the two of them talking in their upper class gucci prada versace-ass language and are like "what the fuck are they even saying?"