#i truly appreciate every single one of you there

[laurrelise]

hi here’s some five sketches

can you tell which one is my favorite

[nouverx]

Hey, in case I forgot to share it with you, here's the fic I wrote as a continuation of this comic of yours: https://www.tumblr.com/nouverx/749763482887585792/proceeds-to-drink-the-whole-bottle-yeah-alastor

https://archiveofourown.org/works/55860895/chapters/141837688 . Specifically the first chapter is the conversation they have afterward! And sorry if I already sent it and just forgot I did; COVID wrecked my memory so I just really cannot remember if I sent it already!

It's ok you didn't send it before! Sharing this for more people to see 👆

[skeletonfromthecloset]

fun side effect (thats so not the right word but idc) of being aro is that while everybody else is in love with fictional characters, i just really want to be their friend!!! i just really really really want to give them a hug & make them a nice warm drink (yes i am one of those people that makes drinking tea their whole personality. what about it.) like. i just. i want to listen to them rant about their life & how their day was. I WANT TO LISTEN TO THEM INFODUMP‼️‼️‼️‼️‼️ ugh. just please be neurodivergent with me for a minute. please. guys. autism. please.

[icology]

almost one more year of being here and I just wanna say I’m very thankful for the little community that exists here, you guys make me very happy simply by engaging with everything and not letting our love for the games die even when we’re in the waiting period.

I was drawn to team ico because their universe feels like a home away from home, and to feel that love and care even when I’m not playing brings me an insurmountable amount of joy. thank you for being here, for talking and sharing things with me, for laughing at my silly jokes. their universe goes way beyond my console and it’s wherever you guys are.

no matter whether the new game takes a year, or ten more, I will gladly wait because every single one of you inspires me and I never run out of things to say. when I’m here I forget why I’m sad, anxious, or scared, and I owe it to you guys for being a good, safe community where everyone feels loved and welcome. these games have taught me so much, but you guys have taught me more.

thank you for being here, from the bottom of my heart ❤️

[scimagic]

Mm I don't think I've been very fair with a lot of the things you guys send to my inbox. If you've sent a message and I haven't replied for a very long while then the possibility that I've deleted it is very high, otherwise it's just sitting in my inbox waiting to be answered-!

Sometimes I delete asks because I don't have the motivation or energy to answer, but I think most of the time is because I. Don't know How to respond. On the rare occasion I simply don't answer because people request something out of me that I cannot/don't want to fulfill. I don't apologize for those but I do apologize to the ones that were easy to respond without a drawing or a sketch, I just didn't see that at the time

Why am I suddenly talking about this? Well you're probably about to see an influx of answers that don't have drawings or jokes (I also don't like posting without a drawing or Something worthwhile to you all but I think just having conversations is nice from time to time! I just have to remember that!)

[seungminnnie]

.

[huellitaa]

⋆ ˚｡⋆୨ merry christmas 🫶🏻🎀🎄❄️ ୧⋆ ˚｡⋆

[koka-mi]

vent under the cut you don't need to read if you don't want to!!!!!!!

I honestly hateee opening up or oversharing with ppl. it's kind of like eating for me where it feels okay in the moment but then afterwards I just feel awful. it feels like I'm attention seeking or saying someone else's experience isn't valid for some reason and it sucks. I don't do it at all with ppl I just met but with friends I tend to get carried away with it sometimes,,,

It hurts even more because I've been distancing myself from ppl bcz I'm scared of this exact thing happening. People have messaged me before, saying I seem cool and they want to be friends. And I get happy in the moment, but then I get really anxious about accidentally getting too comfortable and blurting out personal things, because then their opinion of me will wane and they'll think I'm annoying or ungrateful. So I subconsciously begin to distance myself and take a while when responding to messages, because I'm scared of getting too comfortable with them. But now I'm anxious that they think I'm cold or distant and that I secretly don't like them. It's just a lose lose situation mannn </3

I have so many DMs I've put off responding to, and I've stopped talking in servers as much bcz I'm scared of getting close with ppl in them. I really feel bad for it, though. I've drifted from friends bcz of that and it sucks because I genuinely love them a lot. I love everyone I talk to a lot and they always make my day better--I just wish I could be the same for them. I feel like it's a chore to talk to me. I honestly don't know what to do. It's even worse when I get close to someone bcz they like what I make/post because again, now that they've seen how I really am and I've opened up, they more than likely see me as annoying or a bad person. Like it hurts enough whenever we become friends naturally talking, but if it's with someone who's seen me at my "best" and has seen things I work on or stories I've created, they ofc associate me with those things, and their expectations of me are through the roof. So when I disappoint them it hurts a lot more. I hate getting attached to people it hurts so much

[eureka-its-zico]

Hi there!!!! I love you Chaos in Their Bonessss. It's definitely become one of the reasons I want to wake up the next morning. It's a little piece of my safe haven from the bullshit from my job, family, and friends, and for that I truly think it's a beautiful art what you're doing.

My intention is not to pressure you in the slightest. But I believe in showing love and gratitude for those who make our lives a little more enjoyable. So thank you lots for this ;)

<3 <3 <3

Thank you for being absolutely adorable! You are so freaking sweet and I hope you know how much this ask means to me. I’m incredibly humbled that something I’ve written can be an outlet for you when you need it most. 🖤🖤

I am forever grateful to the love that you all show this story and I hope you can feel that appreciation with each chapter I post. 🖤🖤 I hope you have a wonderful weekend, Nonnie. Much love

[the-far-bright-center]

‘Revenge of the Sith may be the greatest work of art in our lifetimes...’

(an excerpt from a long-deleted blog post, archived here)

“Revenge of the Sith is still (and probably always will be) the greatest thing that will ever come out of the Star Wars franchise. I always go further, in fact, and say that it’s the greatest thing that will ever come out of big-budget, action/fantasy cinema at all. George Lucas’s final contribution to his Star Wars legacy—2005’s final prequel offering—was not only an artistic, cinematic and operatic masterpiece, but it was the ultimate, consummate manifestation of everything Star Wars was capable of being and, for that matter, everything that big-scale cinema is capable of being.

It literally does not—and probably can’t—get better than this ever again.

Lucas, who himself pretty much set the standard and invented the genre in 1977, had now taken us to the absolute zenith of what that genre of film-making could produce.

Epic, ambitious, stunning, moving, nuanced, and everything else, it was the glorious completion of Lucas’s original Star Wars saga that I had been waiting for—and something for which I will always be immensely grateful George Lucas came back to film-making to give us. I have already made the case at length for why Revenge of the Sith was an absolute masterpiece of staggering proportions, so I’ll refrain from re-stating here all the ... reasons I eternally bow at the altar of that film and its unfairly maligned architect.

People who didn’t get it or still don’t get it probably never will get it.

I’ve given up arguing with those on the tedious backlash bandwagon, those who join in with the Lucas-bashing for the sake of YouTube channel views, or those who, like [spoilt children] throwing a tantrum, bitterly disavow George Lucas and whine about how the prequels ‘ruined Star Wars’.

Someone who did get it, however, was the noted author and social critic Camille Paglia: she of course famously declared a few years ago that George Lucas was the greatest artist of his time and specifically that Revenge of the Sith was the greatest work of art in the last thirty years.

The respected, if often controversial, academic Paglia didn’t argue that Episode III  was merely the best movie of the last thirty years… but the best work of art in any genre and in any medium.

[...] Predictably a lot of people either assumed Paglia was being sarcastic or they simply pooh-poohed her conclusions. Paglia, however, was not trying to be ironic, and she has reaffirmed and defended her position over and over again and with a passion—Lucas’s final Star Wars film, she maintained, is the greatest work of art in the last three decades.

[...] I cannot think of any film in any genre that has been as absorbing or as immaculate (or as ambitious). Even just conceptually, what Lucas tried to do with the prequel trilogy was staggering and is without any parallel. And while we could argue that the execution was off-the-mark in certain places, the sheer visceral power and broad artistic value of what he did manage to create—even with its various failings—puts Lucas’s saga (and ROTS in particular) into a different stratosphere entirely.

In her own view of it, Paglia especially focuses on the final act of the third prequel—the climactic finale centering on the extended Anakin/Kenobi lightsaber duel against the dramatic lava backdrop and the extraordinarily powerful way that the birth of the Skywalker twins is juxtaposed with the ‘death’ of Anakin and ‘birth’ of Vader. That latter sequence, by the way, in which the death of the mother coincides (and even feeds into) the birth of the ‘dark father’, all of it underscored by John Williams haunting, gothic choral/hymn composition, is just one example (among many) of Lucas’s extraordinarily acute and nuanced levels of vision.

‘The long finale of Revenge of the Sith has more inherent artistic value, emotional power, and global impact than anything by the artists you name,’ she said in this interview with Vice. ‘It’s because the art world has flat-lined and become an echo chamber of received opinion and toxic over-praise. It’s like the emperor’s new clothes—people are too intimidated to admit what they secretly think or what they might think with their blinders off.’

Speaking to FanGirlBlog, Paglia continued her celebration of Lucas’s final masterwork, saying, ‘I have been saying to interviewers and onstage, "The finale of Revenge of the Sith is the most ambitious, significant, and emotionally compelling work of art produced in the last 30 years in any genre—including literature".

Paglia’s assertions flowed from her 2012 book Glittering Images: A Journey Through Art from Egypt to Star Wars, which in part addressed the problem of modern cultural ignorance and the author’s worries that 21st century Americans are overexposed to visual stimulation by the “all-pervasive mass media” and must fight to keep their capacity for contemplation.

In the book, Paglia discusses twenty-nine examples of visual artwork, beginning with the ancient Egyptian funerary images of Queen Nefertari, and then progressing through various artistic works, including creations from Ancient Greece to Byzantine art and Donatello’s ‘Mary Magdalene’.

She explained, ‘Lucas was not part of my original plan for Glittering Images, which has 29 chapters crossing 3000 years. My goal was to write a very clear and concise handbook to the history of artistic styles from antiquity to the present. When I looked around for strong examples of contemporary art to end the book with, however, I got very frustrated. There is a lot of good art being made, but I found it overall pretty underwhelming. When I would happen on the finale of Revenge of the Sith, I just sat there stunned. It grew and grew on me, and I became obsessed with it. I was amazed at how much is in there—themes of love and hate, politics, industry, technology, and apocalyptic nature, combined with the dance theater of that duel on the lava river and then the parallel, agonizing death/births. It’s absolutely tremendous.’

Paglia also entirely recognised the sheer scale of Lucas’s creation and the value of even its various constituent parts as important or worthy works of art. ‘The fantastically complex model of the Mustafar landscape made for the production of Revenge of the Sith should be honored as an important work of contemporary installation art,’ she argued. ‘And also that Lucas’ spectacular air battles, like the one over Coruscant that opens Sith, are sophisticated works of kinetic art in the tradition of important artists like Marcel Duchamp and Alexander Calder. No one has ever written about George Lucas in this way—integrating him with the entire fine arts tradition.’

The problem is that Lucas and the prequel trilogy have become so widely misrepresented as ‘bad’ that most people don’t know how to deal with someone like Paglia sincerely proclaiming “Nothing in the last 30 years has been produced—in any of the arts—that is as significant or as emotionally compelling as Revenge of the Sith…”

[...] In fact, contrary to widespread misconceptions about how the Star Wars films are viewed, a Rotten Tomatoes poll ... found that Revenge of the Sith (and not Empire Strikes Back) scored as the best-regarded of the [Lucas] movies according to aggregation of archived reviews. So the idea that everyone dismisses the prequels seems like a misconception; but it is fair to say that a substantial body of people —including a lot of people who, rather incongruously, regard themselves as Star Wars fans—do completely dismiss this film along with its two predecessors.

As I said at the start, people who didn’t get it or still don’t get it probably never will get it.

But what has always struck me as pitiful about the whiny ‘Lucas Ruined Star Wars’ attitude is that it seems to flow from the premise that Lucas—a man whose stubborn commitment to his own singular vision gave an entire generation from the late 70s and early 80s unparalleled joy—somehow ‘owes it’ to those same people to do things precisely how *they* deem acceptable. That’s essentially what it comes down to—that he, as the artist, should make the art that the fans or the public want and not follow his own creative vision.

What people don’t realise, however, is that if he had done that from the beginning, there never would’ve BEEN an original Star Wars trilogy at all—and arguably all of these huge blockbuster SF/fantasy films that people spend their money seeing today wouldn’t exist either. What a lot of people also don’t realise is that Lucas was never setting himself up to be a populist or even mainstream filmmaker. On the contrary, he was the avant-garde film geek, the rogue, the outsider. The fact that Star Wars spiraled into a billion-dollar behemoth was an accident; and when the first Star Wars movie was released in 1977, it was an oddity that no one in the film industry understood or believed in.

But Lucas had stuck to his own creative vision—a vision that was largely incomprehensible to everyone else at the time the film was being made—and his singular vision hit the mark big-time and accomplished something unprecedented.

By the time of the endlessly-maligned The Phantom Menace in 1999 and everything that followed, Lucas was still doing exactly the same thing—following his own vision, trying to create something extraordinary and largely ignoring contemporary trends or opinion. The only difference was that the vast fan-base he had acquired from the original films were older now, far more jaded and over-saturated with blockbuster movies (most of which were influenced by Lucas’s pioneering work in the 70s) and they essentially didn’t *want* something new, creative or challenging—they just wanted the same thing they’d had when they were kids.

In effect, they weren’t interested in Lucas the artist or Lucas the pioneer—they only wanted Lucas the Popcorn Movie dispenser. But Lucas the Popcorn Movie Dispenser had never existed—he was simply an illusion created by the extraordinary commercial success of the Star Wars Trilogy.

What Lucas had in fact envisioned—and created—with the prequel trilogy, especially Revenge of the Sith, was something that transcended the whole summer blockbuster ennui, transcended genre, transcended the very medium of film itself, and could be discussed in the same breath as Shakespeare, Virgil and the Aeneid, Julius Caesar, and a number of equally fascinating and endlessly debatable works of serious and complex gravity.

But there was an audience of millions who were instead looking for something that could be discussed alongside Jurassic Park or Terminator 2. Which is fine—Star Wars of course can also be discussed just as validly in that latter context too; but it also exists in a stratosphere beyond it. And because Lucas’s process and vision was in that higher stratosphere a lot of the time, there was a frequent disconnect that occurred, whereby a lot of people were unable to meet him halfway or relate to the films on those kinds of levels.

But Lucas pushed on with his long-envisioned trilogy; and by the time the final installment of his Star Wars saga arrived in 2005, a sizeable proportion of the old fan-base had either departed or were by now just coming to the party for the thrill of seeing Darth Vader one last time. Some dismissed the film the same way as they’d dismissed its two predecessors, some were full of scathing mockery, while others were ambivalent. Some were suitably entertained, but didn’t take it much further than that.

Another group, a smaller minority—myself included—had just seen something of epic, overwhelming proportions and had the greatest cinematic experience of their lives.

But great art is like that.

Great works of art divides people, provoking endless debate [...] An argument could be made that the greatest artist will go all-out to create something special and substantive, even if it won’t appeal to everyone. Said artist would follow his own creative vision and not compromise it to the committee of consensus or demand.

Lucas, it should be borne in mind, never made ANY of the Star Wars films with film-critics in mind—even the Original Trilogy movies were not critically approved, despite becoming cultural landmarks. And interestingly, the hang-ups of many of those who were scathing about the prequel movies—ROTS included—were virtually identical to the hang-ups of the critics in the early 80s who either just didn’t get those original Star Wars films or were unwilling to praise a rogue filmmaker who was rebelling against Hollywood at the time and who was making something entirely out-of-step with contemporary trends and sensibilities.

Fittingly enough, the Lucas who was out-of-step with the sensibilities of the time during the late 70s and early 80s is the same Lucas who was equally out-of-step with sensibilities and trends at the time of the prequels too. In both eras, Lucas rebelled against the sensibilities of contemporary cinema and carved out his own piece of utter magic according to his own stubborn vision—the difference is that so many of the same people who adored what he had done in the first instance couldn’t understand what he was doing in the second instance.

Even though what he was doing was essentially the same thing.

For that matter, I always suspected that one of the main reasons so many people failed to appreciate (or in a lot of cases, to even understand) this film is precisely because it isn’t contemporary. That’s a key thing to understand about the Star Wars prequels—they were not made in a contemporary style.

Lucas doesn’t make contemporary cinema. Both of Lucas’s Star Wars trilogies are written and designed specifically to NOT be contemporary, but to have a more timeless quality, steeped in traditions from the past.

Lucas, you have to remember, has never been a contemporary or generic filmmaker, but a more avant-garde artist and experimenter who foremost specialises in tone and impressionism. The fact that he invented modern blockbuster cinema is purely an accident. As he himself once said, “None of the films I’ve done was designed for a mass audience, except for ‘Indiana Jones.’ Nobody in their right mind thought ‘American Graffiti’ or ‘Star Wars’ would work”.

 [...] They were not contemporary or generic at all—consequently, a lot of people didn’t understand or relate to what they were watching: because they couldn’t find a point of comparison in popular culture.

To really understand these films, you have to go back to some of the historical epics of the fifties and sixties, particularly films like Ben-Hur, Cleopatra or Spartacus. If you watch any of those films (and all three are timeless, truly marvelous cinematic works) and then watch the three Star Wars prequels, it will suddenly make much more sense. The acting style, the dialogue style, the themes, the epic scope and settings, the vast mythologizing, the way the films are scored, even the intricate costume design—all of it.

There’s nothing surprising about that. After all, it’s easy to overlook the fact now from our current vantage-point, but the original Star Wars trilogy movies weren’t contemporary in style either—they were stylistically based on things like Kurosawa, Flash Gordon and the Saturday matinee serials of the 1930s and 40s. The original trilogy films made no stylistic sense in terms of contemporary cinema or sensibilities in the late 70s or early 80s—they were, in style, a homage to a long-gone era.

So too were the prequels—just a different homage to a different era.

[...]

When you look at everything that makes up Revenge of the Sith, the scope of vision along with the degree of artistic nuance and juxtaposition is breathtaking.

There’s lots of action, yes, as you’d expect; but the action, like so much of what Lucas was doing by this stage, is almost transcendent. Sure, the acting or delivery is off in a few places; mostly due to some of the actors having to perform in non-existent CG environments—remember Lucasfilm and ILM were breaking new ground technologically in these movies, which we take for granted now with all our CG and digital filmmaking, but which at the time were bound to cause some teething problems. But Ewan McGregor is superb in this film, while the maligned Hayden Christensen....in fact does a solid job in any number of key scenes.

And there’s everything else. The special effects aren’t just good, they’re actually often beautiful in a way that most special effects don’t aspire to be. The level of detail and artistry in the visuals mean you could turn the sound off and still be captivated. Some of the backdrops could make extraordinary paintings that could hang convincingly in art galleries. And Lucas is the absolute master of the establishing shot and the scene transition, turning it into an art every bit as nuanced as in a piece of music.

For that matter, the music is extraordinary—and actually if you look at how underwhelming or non-existent the music is in the post-Lucas ‘The Force Awakens’, it becomes clear that Lucas and Williams had a collaborative process that really influenced how these films were scored (and which is now no longer the case). Lucas himself said that the music was 50 percent of what mattered in these films and that is certainly evident.

Much of it, particularly the climatic Kenobi/Skywalker duel and that final act with the birth of the twins, death of Padme and creation of Vader, almost isn’t cinema at all—but opera. This could’ve been something Wagner was composing if he had ever existed in the cinema age.

In fact, the final few scenes of the film don’t even have any dialogue, but are purely musical and visual. Even some of the most stirring parts earlier on in the film are without dialogue; take, for example, the breathtakingly beautiful sequence of Anakin and Padme trying to silently sense for each other across the exquisite, sunset cityscape—it’s all visual, tone and subtle music, pure emotion with no dialogue. A scene like that could almost be part of a silent movie; and it’s also like an impressionist painting in motion.

Even that Kenobi/Skywalker duel itself is more than just an action sequence. With Williams’ epic, stirring, choral score, it too is opera. But it’s opera married to performance art: the level of intricacy, fluency and speed of Ewan McGregor and Hayden Christensen’s dueling is insane, having required an immense amount of prep and practise. The choreography takes it onto the level of dance; of true performance art as opposed to disposable cartoon violence or cheap blockbuster action.

Everything here—to the last detail—is choreographed like a ballet and it is spellbinding.

Yet while other filmmakers would try to sell an entire movie on such an exquisite centerpiece, for Lucas all of this—all of this poetry, opera, dance, music, visual art and everything else—is ultimately mere constituent part to a greater whole: a Shakespearan epic of a tortured fall from grace and a Greek tragedy... wrapped within an even larger epic about the fall of a Republic, the fallibility of religion and the genius of the Devil and failure of the angels.

[...] What Lucas created in fact was the ultimate expression/culmination of the art of the epic itself—fittingly enough, in order to conclude the defining epic of our modern times (what Brian Blessed once described as the Shakespeare of our age). The Shakespeare comparisons aren’t trivial. The evident Star Wars/Shakespeare resonance has even prompted things like Ian Doescher’s book William Shakespeare’s Tragedy of the Sith’s Revenge: Star Wars Part the Third—a retelling of Revenge of the Sith as if it had been written by William Shakespeare for real.

[...] Various observers, including academics, have noted the obvious fact that Lucas’s story is also a retelling of the fall of the Roman Republic and birth of the Roman Empire. Lucas himself admitted this, pointing to how Revenge of the Sith in particular is partly a story about democracies become dictatorships and citing the historical stories of Caesar and Augustus. You can quite easily watch the prequel trilogy alongside I, Claudius or something like HBO’s brilliant Rome series.

But none of those references or allusions are the important part. Even the fact that the prequel trilogy—and again, ROTS in particular—is quite clearly in part a story about false-flag wars, banking conspiracies, the corporate and military-industrial complex, the Bush administration and the Iraq War, etc—isn’t particularly relevant to the issue of why it’s such an epic work of significance.

Lucas is the author and architect of our preeminent modern mythology—as interviewer Bill Moyers asserted during his fascinating and revealing 1999 interview with Lucas (for the release of The Phantom Menace). Partly inspired by his friend Joseph Campbell’s thoughts on mythology, but moreover informed by his own careful distillation of elements from various cultures and civilisations (what he has referred to as our collective human ‘archaeological psychology’), Lucas is every bit as influential as Virgil, Homer or Shakespeare were in their respective times, and has crafted out the ultimate mythological saga.

Revenge of the Sith is the final, completing piece of that saga—the piece that gives the saga its full scope and true soul, and the piece that makes every one of the other films count for so much more.

And it does it so well—with such vivid and breathtaking quality—that, even having written an article as long as this one now is (and another before this), I still don’t feel like I’m adequately able to explain its full brilliance.

Neither could Lucas himself, I suspect. I’m not sure Lucas even realised how masterful it was; but, as Paglia and others note, the guy is so mild-mannered and self-deprecating that it simply wasn’t in his nature to boast about his own work. Instead he just took in all the abuse and mockery with mild bemusement, shrugged his shoulders and walked off into the twin sunset, knowing that with Revenge of the Sith he had finished what he’d come back to do.

In fact, what Lucas did was so extraordinary, so complex and so nuanced that it may take another decade or two for people to even appreciate it properly—assuming they ever do. As film experts like Mike Klimo have noted, some of what Lucas did in ROTS and the prequels may have been so sophisticated that he deliberately didn’t talk about it, but just left it there, not knowing that anyone would ever even notice.

This, as I said earlier, goes beyond cinema, and possibly even beyond Star Wars itself. Lucas genuinely outdid himself, and it is unlikely anyone will reach that height again—firstly because no one is going to be in the position Lucas was in again in terms of total ownership of a property, and secondly because no one is going to have that kind of ambition again, especially having seen how much of a backlash Lucas received from the legions of popcorn munchers, YouTube profiteers and ungrateful fans who were really looking for something much more in keeping with a generic, formulaic, standardized blockbuster formula.”

[iwanttobepersephone]

Ok, so, I wanted to do some art for today, but I never got around to it, so I guess what I'm doing for day 30 is just a positive rant about this community and how awesome it is

Day 30, Home

For my whole life, I've felt most at peace in nature. I don't quite know why, but I know it makes me feel safe. I'll go on 3 hour long bike rides that are really just 1 hour of biking and 2 hours of sitting by the river. I'll sit out in the prickly, hot, uncomfortable backyard just to be near a tree, and I'll do anything to just stay still on a forest path and slowly watch nature return to how it was before I came.

And I think that's why I love Rangers Apprentice so much. The whole vibe of the books, of the universe, is so familiar to me. It's also taught me things that I view as necessary, like how to properly watch someone who might be trouble without them knowing I am, or how to become as unobtrusive as possible in a crowded room. The universe and the community just feel so much like home to me, so safe and kind, that it's hard to imagine anything but my actual home making me feel so happy.

This is the part of the post that I'm a bit iffy about including cause I don't wanna bother people, but here we go: some of the best people I've met online have been in this fandom, they're just so sweet and kind and everytime I get a note from them with a message I smile.

@artsysurvivor , I'm like 90% sure you were the first person to ever reblog one of my posts with a message of some kind. You're so sweet and uplifting, and you were honestly a major help when I asked people for Irish lullaby recommendations. You're absolutely awesome and amazing, and one of the reasons I love this fandom as much as I do.

@crowleymeratynranger17 , this one is kinda harder to explain, lol. I've been trying to find a post that you've like left a message on and stuff but I can't find any sadly, but the way you are pretty reliably the first person to interact with my posts has made you a kind of reminder that even in tough times, there are still people who want hear what I say. If you feel uncomfortable with being on this list, I can totally delete this section, but I still just wanted to include it

And most recently, @an1d10t ! Dude, your headcanons and general attitude are so awesome. The way you focus on the little things and the implications and the sweet things is just so refreshing to see, even though I love the angst and all that. Also, you're just generally so cool! And kind! And nice to interact with! You've been really making this entire community feel like a community for me. Thank you!

And also, thank you to literally everyone else. I may not have specific things to say, but if you interact with this fandom at all, I really do appreciate you. This is the most welcomed I have ever been in a community, and I can not over state how much the people here mean to me. If it was possible to have a true home on the internet, it'd be this community! Thank you, everyone, for making this place feel like home!

[krokaxe]

Alright it's time for some October Creation™ Comments highlights

[daily-keyboardsmasher]

Day 1400

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[beeapocalypse]

dont say this enough but i truly appreciate all of you. thank you for every moment shared

[swingstep]

i’ve been trying to figure out how to say it for days, and hopefully this will do, but... i recently passed 1000 followers on this blog!! and thats!! Bonkers!! i sincerely didn’t think we’d ever reach this point ever since i started several years ago, so i sincerely want to say: thank you all so so so much for your support!!!

unfortunately, i’m just a bit too frazzled at the moment to properly celebrate like i want to, (even my little daily doodles are keeping me busy..!) but i didn’t want to go too long without acknowledging it! i definitely want to put up a raffle or something once i can (maybe we can do an ask/art game in the meantime..?), but until then... for every interaction, every nice tag or comment, and every flip-flop of my silly little fixation brain: thank you for sticking with me! have a lovely day, folks!! <33

[autism-corner]

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