#i wanted something a bit less literal

[kaidatheghostdragon]

Wings au, but:

Wings only manifest if you're liminal (they are thought to always exist, but only reveal themselves after an NDE/equivalent liminality trigger)

Wings are only visible to other liminals

Arent really functional so much as a representation of the soul, and not corporeal, just visual. Arent really set in stone either, they can evolve as the character develops, and might start out with strong influence of the triggering event that revealed them.

Can be a wide variety of things that could only be described as wings in the broadest sense

Not really any such thing as secret identities among liminals because of them

Liminality is extremely broad, so it covers most of the league and a small percentage (like 1-2% at most) of the civilian population

Different individuals:

Danny: a shadow void that shows a perfect view of space in the direction you're looking into it (but initially started as nondescript mass of light that matched his transformation rings)

Dani: an aurora, constantly moving and shifting, started out very ecto-green, shifted to more natural aurora colors over time

Batman: a cloak of shadow that occasionally takes the shape of bat wings

Jason: flaming phoenix wings, obviously (shape matches an eagle or condor, have remained pretty consistent, though they started more smoldery and are currently more flamy, flame is green when under effects of pit rage)

Poison ivy: "fairy" wings, actually look like giant leaves/flower petals, always appropriately seasonal

Superman: they look like solar coronal loops of plasma

Valerie: match the vibes of her nanosuit, might even be floaty and detached

Jazz: perfect white angel wings, very floofy (people mistake her for soft, then learn why angels are traditionally feared)

Cass: perfect angel wings, but black and obviously swan shaped

Damian: metallic wings where the feathers are each a blade, have gone from jagged to more sleek after moving in with bruce

Duke: sunbeams that trail like a regal cloak

Selina: has a proper cat tail instead of "wings"

That's all the ideas i had so far. Feel free to add your own for other characters.

[ahalliance]

antoine + étoiles insane moments, p.2. aka the ass saga. p1 here

transcript + context for some of the clips below

[Video Transcript:

[First clip plays.]

Rivenzi: You want to see Etoiles’ ass, of course…

Antoine: Yeah, I’m gonna stare at your ass, Etoiles…

Etoiles: Fuck, what dread, during Popcorn [a talkshow Etoiles had been invited on the previous week], when I went up to the map and you said that, and I thought ‘whoa—‘

Antoine: Sorry

[Second clip plays: the moment during Popcorn]

PA/Domingo: Antoine Daniel has posted a tweet for us: ‘I wanted to look at this map of Africa, but Etoiles’ ass in the shape of a standing bell is driving me crazy. Smiley face with eyes in the shape of hearts.’

[Third clip plays: a continuation of the first clip.]

Antoine: Sorry, bro…

Ponce: Oh but that tweet, besides

Rivenzi: A standing bell…

Antoine: What’s more is that I never tweet and when I do it’s to tweet this sort of shit

Ponce: That’s exactly what I told myself. When PA read the tweet, I thought to myself, ‘but he never tweets!’ And he tweets to talk about Etoiles’ ass

Antoine: There needs to be a good reason, you see

[Fourth clip plays: a clip from the Team du Lundi’s minecraft server.]

JDG: Someone (in chat) said, ‘I can’t tell whether the atmosphere is good tonight or—‘

Antoine: It sucks, it sucks

Florence: You don’t need to ask every time, it always sucks

Baghera: Always sucks. Especially when Etoiles talks about ass [which had been a previous topic of discussion for him that night]

Antoine: Stooop, I enjoy it

Mynthos: You enjoy it?

JDG: It’s true tonight that it’s more weird than bad

Antoine: I like it when Etoiles talks about ass….

[Fifth clip plays: a second and different clip from Popcorn.]

Etoiles: —you’re not allowed to tell me that [Xari claimed to not know much about cinema]. I know you, I studied, because you’re my rival [in pop culture]. I really enjoy what you do in life, Xari, and you’re really knowledgeable about cinema

Antoine: What do you mean he’s your rival? And I’m just shit?

Etoiles: You, you’re my lover

Antoine: Oh yeah, sorry, my bad

PA/Domingo: One of the three is gonna die soon. There’s a whole situation, there’s a whole lore

[Sixth clip plays: a clip from the QSMP.]

Antoine: Don’t you want to get married, dude?

Etoiles: Well, I don’t have the time to fuck

Antoine: What the fuck?!

Etoiles: I don’t have time to fuck, dude. I just need to kill everyone

Antoine: No but just a marriage, you see. You’ve watched Game of Thrones— you haven’t watched Game of Thrones, you can’t know how marriages work in that series

Etoiles: I’ve watched it, but I’m married to the street, dude. I can’t give out my heart that quickly

Antoine: Yeah but you can give out your ass quickly, no?

Etoiles: No, frankly, my ass—

Antoine: What the fuck?!

Etoiles: Giving out your ass takes time, dude

Antoine: What the fuck…

Etoiles: Then again, I need to think about it. I’ll give you my answer. I need to discuss, and everything

Antoine: I’m tired of getting betrayed. You get married with someone else—

Etoiles: Never in a million years!

Antoine: —it’s like yesterday. Apparently Maximus got the mic from his ass removed while I wasn’t there. I was supposed to be the one to do it

Etoiles: Oh okay, so I’m your second choice?

[Overlapping]

Antoine: No! It was just to help him—

Etoiles: No, but, okay

Antoine: He got— listen—

Etoiles: There’s no problem!

Antoine: Fuck, nevermind

Etoiles: There’s no issue! Oh, so you’re opening my chest and stealing?

Antoine: I was just looking! Out of curiosity

Etoiles: Yeah, that’s it

Antoine: I don’t even understand what’s in it

Etoiles: Yeah, out of curiosity. Dude, your opinion on my cave?

Antoine: Well frankly it’s big

end Video Transcript.]

[silvers-starrway]

I miss him every day!!!! Urg.... MDAU!Sonic post EP 8 thoughts are ruining my brain rn you have no idea.

[gophergal]

Life on the farm

[kyouka-supremacy]

(˶ᵔ ᵕ ᵔ˶)

[icewindandboringhorror]

A little costume with eyebrow whiskers again.. making their return lol..

[mabaris]

no youre completely right - im a gay (trans)man and i legit wanna see so much more about the women bc There Is So Little. I wanna make a lesbian oc who gets bent in half by taash. im very normal.

i’m just tired man!!!! it feels so obvious how disproportionate it is when you’ve got. a cast of characters that we know almost equally little about. and a few of them explode in popularity and it’s like spongebob sticking his hand out the curtain. literally all a character needs to do numbers is to be a light-skinned man

[sysig]

is this where u take the requests? if not, apologies lol still learning tumblr, I WAS WONDERING IF MY VARGAS RELATED REQUESTOBER REQUEST COULD BE JAKE/NNY? i feel like jake/nny is SO looked past like its actually so cute, they could be doing anything THANK U IF THIS WAS THE WRONG PLACE SORRY MWAH MWAH X

Day 12 - Once you had one hole in your skin, you've had 'em all

[godsfavoritescientist]

Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.

I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.

Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?

How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"

And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.

So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.

So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.

And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.

-

And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.

Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.

And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.

So you sail away in a boat together.

And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.

But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.

But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.

You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.

And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-

-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.

You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.

-

And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.

It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.

And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.

[pikkish]

idk if this is a good prompt but put doomguy in myhouse.wad I think he would find it enriching

Right, so I've been mulling on this one for a little bit now, n I'm not opposed to writing something for you, I'm just not... entirely sure what to write? Because the thing is, myhouse.wad doesn't actually really have anything to do with Doom as a story. Sure, Doom is important in that it's the vessel through which the story is told and one of the connections between the narrator and his dead companion. But as far as Doom itself goes, and the story about a man who was too angry/stupid to die, fighting demons and saving earth, none of that is at all relevant to myhouse.wad and its story. For all intents and purposes, Doomguy isn't actually a character in myhouse.wad. So I'm not really sure how exactly to fit him in there.

[beanghostprincess]

Let's say chocolate is a metaphor for traditional relationships that happen to appear good but are too sickly sweet for Sanji to handle and after WCI he ends up not liking chocolate. At least for a while. He needs to move on from what happened first. But he wants to force himself to like it because he should like chocolate. It is one of the most basic ingredients when making sweets and it is also everywhere.

So what if it makes him want to throw up? What if his stomach betrays him when cooking? What if he needs to stop every two seconds to breathe because his lungs don't work properly when he smells chocolate? He will keep trying and trying to make it work. Everybody loves chocolate, after all, he should too.

But then, one day, Usopp sees everything he has around the kitchen. Like. That's an awful lot of sweets and a disgusting amount of chocolate and he doesn't seem like he has slept in a week. So of course he is concerned. "Why- What's all of this about, Sanji?" He tries to hide his nervousness with a laugh.

Sanji grips the counter tighter. So much his knuckles turn white. "I- I don't know. I guess I was just. In the mood for chocolate." But he doesn't sound sure at all. In fact, he looks like he's about to cry.

"Well." He looks around the room without wanting to touch anything but approaching Sanji a bit to check on him. "Luffy can have all of my portions because I kind of... Not like chocolate?"

"You don't- You don't like chocolate?"

"No? Too sweet. I actually pretty much hate it? The smell already makes me ill."

"Me too."

"You what?"

"I think I don't- I don't think I like chocolate anymore. Is that- I don't know if I ever did. Is that alright?"

"Why wouldn't it be alright, Sanji? It's just chocolate. Nobody can force you to eat it. Or cook it if you really don't want to."

And Sanji realizes that maybe... Maybe it is alright for him to not want chocolate, and a wave of relief takes over him for a solid second.

[oh-cramity-its-amity]

i love my friends so much. i feel like yesterday i had a lot of shit going on in my head and i woke up to my friend explaining things in a way that put my mind at ease. i dont feel as anxious anymore because i know i was overthinking. i think my dad said it best when he told me that he thought my wonderful brain of mine just wants to think problems are bigger than they actually are. he is right! im just inexperienced in life and half of the time im scared im doing something wrong but- HEY. i need to be more confident in making mistakes. making mistakes doesn't define me as a person!! i need to stop worrying about doing life right and just live for the sake of living and doing what makes me happy!!!!!!!

[dancedance-resolution]

i started a supercorp portrait of a lady on fire au like three years ago. i'm never going to finish it, but the writing style is pretty cool, so i want to share it. so um enjoy the prologue and a bit of chapter one?

---

Prologue. Bonnelles, France. 1786.

“First, my contours,” Kara said, her voice soft and level. She looked out upon the dozen or so young women, their eyes darting back and forth from their papers to Kara herself. “The outline,” she continued. The increasingly swift sound of scratching charcoal prompted Kara to further instruct, “Not too fast. Take time to look at me.” She paused. “See how my arms are placed.”

At that moment, Kara saw the painting.

She swallowed and took in a breath; she schooled her expression before letting out the air with a pathetically soft “My hands.” Her students’ gaze followed her verbal direction, now observing as Kara’s fingers curled with remembrance. Their own hands now began to sketch the slope of hers—the slope that had once coaxed breathy moans from a lover, the slope that had once created that very painting in all of its hollow longing.

Kara felt her heart rate accelerating, and her attempts at calming deep breaths only made her shoulders shake unsteadily. “Who brought that painting out?” Her eyes darted around, landing on each possible offender, as she tensed her core and adopted a stern countenance.

Every student dutifully turned to look at the work.

It was an especially young girl who finally lifted her hand. “I brought it. From the stock room. Should I have not?”

Kara’s “no” felt like a brick, its weight threatening to pry tears from her reddening eyes. So Kara took another swallow, a handful of blinks, a few more steadying breaths.

“Did you paint it?” the girl asked innocently. Nia, her name was? She stared at Kara, oblivious to the flood of sound overwhelming Kara’s mind and echoing in the cavern of her heart.

“Yes,” Kara uttered softly, the word barely audible as they fell from her lips. “A long time ago.”

Nia’s head snapped back to examine the painting once more. It stood on an old but sturdy easel, tattooed and scarred but still standing. The artwork itself was brooding, with a white sun bleeding into a dark vignette. Heavy clumps of clouds occupied the sky and caged some of the sun’s rays, so the fire burning behind the woman was bright enough in comparison to create a dragging shadow of her figure. The flames crawled up the back of her windswept dress, bringing sharp tension to an otherwise lulling, melancholy landscape.

“What’s the title?”

The sound of the sea began to swell in Kara’s head. Her lips trembled. Her body unwittingly swayed slightly. “Portrait of a Lady on Fire.”

---

Chapter I. The island of Brittany, France, and the surrounding sea. 1779.

Kara squinted into the distance, her face scrunching up a bit as she desperately tried to shield her eyes from the harsh glare of the sun on the water. For all its gorgeous teals and sparkling peaks, it certainly did make her wish for one of those brimmed hats the rowers were all wearing. With every one of their paced paddles, the cork-like little canoe bobbed haphazardly. Kara rather felt as if she were in the wine glass of a thoroughly drunken Marie Antoinette.

At least she wasn’t prone to seasickness.

She still felt quite unsteady, though, being thrown about and forced to pathetically grab onto the boat’s low walls. She leaned forward, trying to regain her balance and ground herself despite the absence of ground.

The wooden pallet holding her canvas was, apparently, as unstable as she was, and the next thing Kara knew, it had been lurched off of the boat like vomit from a drunkard. Kara watched helplessly as it thrashed among the choppy waves, the sea carrying it a few feet from the boat.

The chief rower met her desperate look with exhausted resignation; he ceased his paddling as Kara shed her overcoat and placed a precarious foot on the edge of the canoe.

With a strained creak from the boat’s wood, she jumped into the water, dress billowing behind her. Her first gasp for air upon emerging from the water was audible; she could feel the effort in her throat. Her arms moved in laborious little arcs as she slowly made her way towards the floating pallet and finally made a desperate reach for it. Kara’s fingers grasped onto a wooden board, and she pulled herself up onto it with a grunt.

---

The incessant wind upon the sea was certainly not helping Kara. Dripping wet, she wrapped herself up in her overcoat in a pitiful plea for warmth. She held the edges of the garment up to her lips, the sensation of the dry fabric bringing her some comfort as she closed her eyes and left herself to the mercy of the mighty sea.

But the interminable rocking of the feeble boat wouldn’t allow her any rest.

Kara wasn’t very religious, not anymore. Yet, the sight of the cliffs and coast of Brittany moved her to relieved prayer.

---

The sun had already begun to set as Kara trekked up the sandy coast. Her legs ached with every stumbling, unsure step—maybe she was a bit seasick after all—and her hands were tired of having to grip her full skirt to keep it out of her way.

She paused on the rocks, taking a moment to manually wring some of the water out of her skirt. She filled her lungs with an arduous breath before slinging the rope holding the pallet over her shoulder. Next came the fabric sling, which housed her trunk of personal items—she positioned it on her back with careful poise.

The journey up the cliffs and towards the trees was exhausting. Kara’s skirt required repositioning every few seconds, the rope was digging into her shoulder, and the pallet and trunk slammed into her back with each wobbling step. By the time she reached the straight path up to the residence, her breaths were heavy and pained, and the sun was nearly fully hidden beneath the horizon.

A soft light emanated from the windows above the mansion’s door, helping Kara feel a bit more secure as she knocked. A short blonde woman answered her summon and introduced herself with a flat “I’m Eve.” She opened the door a bit wider and gestured with her body for Kara to come in.

Eve held a small candle as she guided Kara up the stairs, the sounds of their shoes echoing through the grand yet starkly undecorated hallway. The walls of the stairwell were cement bricks, and the wrought iron bannister was rather plain and geometric.

They came to a stop in front of a similarly void room, bare save a few heavy curtains and a daybed. The raised panels along these walls matched the white-painted wood of the window frames, and they gave the chamber some elegant character.

While Eve entered the comparatively less intimidating room, Kara stayed back a moment, taking in the shafts of muted blue light from the windows and the contrasting warm glow of leaping flames from the central fireplace.

Eve crouched down to poke at the fire as Kara set down her belongings. “It was a reception room,” Eve explained. “Though I’ve never seen it used.”

The fire crackled pleasantly. “Have you been here long?” Kara inquired.

“Three years,” Eve answered, directing her attention back to the fire.

Kara peeled off her overcoat and draped it along the wainscoting. “Do you like it here?”

“Yes,” Eve said simply as she stood up. She turned to Kara, meeting her eyes now as her hands smoothed over her skirt. “I’ll let you get dry.” And with a nod, she was on her way.

Kara watched her every step.

Once the door closed, she hastily began removing her overskirt. It fell to the dark herringbone floor with an unglamorous thud.

---

There was no method or grace to the way Kara wrapped her hand around the rusting crowbar, but with a few jerks, she’d managed to successfully pry the top off of the pallet.

After setting down the wood cover, Kara extended her hand, letting it fall clumsily onto the slick canvas in front of her. It was still wet, and her hand’s small circular movement caused moisture to pool at her fingertips, as if her touch had beckoned the water. So her hand withdrew, and Kara slid the canvas out from its container. Her eyes danced over the surface as she considered how to dry it, holding it in front of herself like the Communion host of an evening Mass.

---

Kara decided to accompany her drying canvas, which was now positioned next to the fireplace. Stripped naked, she sat in front of the fire and pulled her legs towards herself—she was vulnerable, sitting there bare and in a new environment, and the action made her feel a bit more small, compact, and safe.

Kara set down her candle so she could light her tobacco pipe with the flames. Her large, smoky exhales grounded her, in a way, with the familiar sight and smell acting as a sort of sedative. And she stared forward, expression blank but unmistakably worn.

---

Kara walked barefoot along the cement floor, making her way through the hall and to the pantry room wrapped in nothing but her robe-like smock.

[minimoll7]

I really want to draw and post art again but yet its been so incredibly hard to really to do anything? I'm at a point where I really just don't know why. I tend to sketch stuff and maybe sometimes I'll start working on the line art but then I just stop and never go back

I don't know what my problem is or what is really stopping me. I get really happy when I sketch and things are coming out really well!! But then that's kind of it? Its not like I feel super depressed about it or anything, so what's holding me back? A big ol mystery

[butts-bouncing-on-the-beltway]

I don't have a lot of energy these days [because of The Horrors] so I'm looking at my day and my priorities and trying to plan how I'm going to spend what energy I have, because I do need to be able to rest and relax but there are also things that need doing and that is a careful balance for me.

I managed to [mostly] clean the kitchen last night so I've kicked it out of the priority list until next weekend. Unfortunately the living room, bathroom, bedroom, and my office all need cleaning too. I think of the priorities, my office and the bedroom are the most important to me, so I'll probably push the living room and bathroom until at least Friday.

There's also the laundry. I don't have any clean clothes and as we're moving into winter I need to be more rigid about getting that done because days where the clothes can be dried on the line will be more limited. So I definitely need to wash an outfit or two and hang them up in the next hour.

That's already a really busy day, so I'll probably cut it there. But it's definitely going to still leave me a lot of work this week. Half my cleaning, at least one more round of laundry, settling dog food for the next couple of weeks, planting the fall/winter greens, doing some set up work on my computer, work on some writing projects, cleaning out the fridge, and patching some worn clothes. My work week isn't insane atm, but it is definitely limiting. Right now I have 6+4+0+4+2+5+5= 25 non work/non-survival needs (sleep, food, shower, etc) hours available each week. I need to figure out a regukar distribution of these that means everything is getting done and I still have an hour a day to myself as often as possible. I think it's probably not realistic to give myself more than an hour a day for free time/fun, which is a bit unfortunate because I've found in the past that my floor tends to be getting 2-3hrs of free time most days because of how I deal with transition and decision-making.

25-7 [1hr per day] is 18 hrs, so I just need to decide where and how to distribute those in order to keep pace with things.

Lets say the garden needs 3hrs per week, the laundry needs 4 hours (specifically 2 sets of 2 morning/early afternoon hours), the cleaning needs an hour a day to get through a maintenance clean of the house, and 3 hours once a week to work down any deep cleaning that's built up. Which is....already three more hours than I actually have each week. So I guess I'll make a plan to work in the garden for 20-40min of 4 of my free hours each week.

It really doesn't leave me any wiggle room. Only about 4 hours a week that isn't explicitly allotted to something that needs doing, which means there will probably me a lot of weeks where I only get an hour or so at best across the whole thing for free time. I guess I've had a hard time accepting that at this point, having actual time for myself or a time-intensive project is only available if I've taken a day off work. I love my job, but it's ... not comfortable to realize that it's the only love in my life I actually have time for anymore.

I think that's probably why I end up here so much. It's this mindless little way of zoning out into my own head, dissociating away from the exhaustion, for a few minutes at a time. I keep thinking I want to use this space differently, make it more if the things I enjoy. But I think what I really want is just to actually have the time and energy to do things I love that take work. I keep crying a few times every day and I couldn't figure out why, but like

I dunno

Why **wouldn't** I cry a little every day? It's the closest I'm getting to actual emotional release or relaxation in my life. We'd probably all cry. Heck. A lot of us probably DO, capitalism being what it is.

I guess I'm starting to wonder why I'm doing what I'm doing. What is there left for me to sacrifice to this life? What is actually serving me about not just letting myself go up like a fireball and take my surroundings with me? What in the ever loving fuck am I fighting this hard for?

All I ever want, all I want now, is to be able to live. To really, actually live. How does wanting to live bring you this close to killing yourself, whether on accident or on purpose? What am I actually doing that is LIVING and what am I doing that is FACILITATION of living? It can't all be facilitation, or I'm not actually facilitating fuck all.

I'm 30 goddamn years old and I need to figure out what it looks like to actually love my life. I fundamentally refuse to zombify myself like this for everyone else around me forever.

[katyobsesses]

It's 2:20am and despite my wants I didn't write anything. Did some edits though, which is kinda writing. But wow that stupid argument really leached all of my energy huh?