#i will continue to provide!

[carnivalcarriondiscarded]

YOU DONT UNDERSTAND, YOUR LAUGHINGSTOCK CONTENT MAKES ME SO HAPPY I LITERALLY SQUEAL EVERYTIME I SEE YOUR LAUGHINGSTOCK DRAWINGS IT GO BRRRRRRR I LOVE THEM N YOU AAAAA 🫶🫶♡♡♡♡♡♡ LAUGHINGSTOCK FO LIFEE FOOOOOL

[hinamie]

oversaturate

[fuckmeyer]

the choice between Edward & Jacob is not a question of which relationship is healthier or which partner is best suitable for Bella. neither is correct. neither is best. neither produces a happy ending for Bella. at the end of the day this is still a vampire novel. any choice Bella could make would yield, at best, a bittersweet happily ever after.

if she chooses Edward, she gets the terrifying Breaking Dawn ending: a girl who rejected her call to grow up has hung her love & her eternity on an emotionally stunted partner who hates himself marginally less than he loves her. she's a teen mom with a kid she never wanted who perpetuates the generational trauma passed down from her parents. by keeping this child, the Cullens have set the stage for an uprising/cold war against the Volturi who are likely to take revenge in order to maintain power. Bella is living in a tenuous "dream come true" wrapped in a nightmare & doesn't realize it.

choosing Jacob is the true coming-of-age ending that rips the stitches out of a wound that never fully healed. even if we ignore the fact that she ends up with a man who sexually assaulted her (we must bear in mind Jacob's character is influenced by smeyer's racism, but it did happen), they can't have a secure romantic relationship. based on the high imprinting rate of the pack, Jacob will likely find his imprint in his lifetime & will lose himself to the imprintee. he will no longer be her Jacob. he will inevitably abandon her (whether he wants to or not), & she must reconcile with the reality that she will always be inadequate to Jacob's imprint. & say he never manages to escape the vampires? he will presumably not age for a long time, meaning the relationship Bella always feared with Edward (her being an old grandmother while he stays forever young) remains a possibility. this is the story of a girl who slaps a Band Aid on an open wound & calls herself healed while flinching every time she sees the shadow of the knife that cut her.

if she chooses neither (team therapy), her healing requires her to lose or be at least partially disconnected from everyone she cares about. Bella must spend the rest of her life shut out from one world while never fully existing in her human world ever again. she must always keep secrets. she can never go back home. even in the unlikely event that she manages to escape the Volturi, the threat of being hunted by vampires will never leave her. in addition, she must face her worst fears (aging, losing Edward) while always keeping in mind the immortal life that could have been hers, if only.

even the "healthiest" option produces scars that will never quite heal.

Twilight is a horror. Twilight is a vampire novel. Twilight is gothic. Twilight is fiction. neither Edward nor Jacob is a "bad" choice because neither will give Bella her happily ever after. the choice between Edward & Jacob is simply a matter of which horror story you prefer to read.

[hellenhighwater]

I was doing research on the ArtPrize thing, because research is how I handle very nearly any issue, and I'm trying to set my expectations reasonably, given that it's one of the largest and most lucrative art competitions in North America. And I was reading up on the voting process, because some of the prizes are awarded based on popular vote. The first vote by an individual has to be placed on a smartphone in the geographic region of Grand Rapids, MI, but subsequent votes (one a day per entry) can be from anywhere, so long as the phone started in GR. There's $600,000 in awards and grants this year, so voting matters in determining who gets not-insignificant amounts of money.

You know how many votes were cast last year? 30,000. Thirty thousand. Across every category, not just for the winning art piece. That is not actually that many votes. I have more than that number of you right here, my poor captive audience.

Now, if I can just figure out how to get all of you into Grand Rapids during the month of September, I'd have this in the bag. It wouldn't have to be for long. Just a brief convention of fellow tunglr users, for just a moment, just a quiiiick....dash...c

[lollipopmixclo9]

My favorite HSR team now 😂🙈

Inspo from these 😂🙈

[triptychofvoids]

Silly in the best way have a gold star

('u')>⭐

danke schön, na na, danke schön~

[trappedinafantasy37]

Since Minthara presents an exterior shell made of steel, and she's sometimes mean, and is an absolute badass in battle, she is often treated and perceived as someone who feels no emotions. And this often occurs to individuals who do put on such a tough exterior. It also does not help that many people perceive evil characters as incapable of doing or feeling anything other than evil. That love and evil are innately incompatible.

But Minthara is not emotionless, she does feel things. Sadness, grief, fear, loneliness, anger, anxiety, paranoia, vengeance, love. She can laugh, she can tell jokes, she can cry, she can smile, and she does get upset at things. If anything, she is emotionally repressed and emotionally guarded and the times where she does really express her more negative and vulnerable emotions is when it becomes too much to hold back and it comes out a little over the top. We have to remember she comes from a society in which such outward emotional expression would be rewarded with social punishment, religious scorn, or even death. So she really doesn't have the healthiest mechanisms to express her emotions.

She hides what she feels all the time as a means of keeping herself safe from punishment. She keeps it to herself cause she does not want you to see her as weak, as she would have been in the past. And she certainly does not want you or anyone else to punish her for it either. She hides behind little pet names and even using words from languages she knows you don't understand as that is the only way she feels safe being vulnerable with you. In her past, her love was rewarded with new wounds and new scars. She is terrified to open up to you, fearing that you will hurt her because she loves you. That her love for you won't actually be enough to stop you from hurting her. And she will only ever admit she loves you in contexts that have a high risk of death because there's really not much for her to lose at that point so she may as well tell you.

She also has a habit of intellectualizing what she feels and experiences so that they appear as "rational" and "logical" rather than emotional and to distance herself from her emotions. She says it takes a sharp mind to have sympathy for someone who suffers unnecessarily. She is trying to make it appear that emotions like sympathy is a matter of the mind, not the heart. That it is a mark of intelligence, because otherwise it would be the mark of weakness.

She blames herself for her own torments, like she deserved the awful things that happened to her. She frames the situation like she is more at fault and more deserving of blame, than the people who hurt her. It is the only way she can find any reason in what happened to her and any reason in her tormentors actions. That she did something wrong and induced someone's wrath upon her, rather than acknowledging that the person who hurt her is just a bad person.

She deserved what Ketheric and Orin did to her because she was "weak, passive, proud". That her emotional state had blinded her from the trap that was set, giving Ketheric and Orin ample opportunity to attack her. That if she hadn't felt those exact emotions, then it wouldn't have happened. She could have seen the trap coming, or she could have fought back.

Or if you attempt to tell her that her childhood was rough and her mother abused her, she immediately deflects by saying, "it could have been worse" and therefore, what she did actually experience wasn't really that bad. And yeah, sure, maybe she needed certain lessons given that she lived in a cruel and dangerous society like Menzoberranzan where she had to be prepared for violence at all times. But trauma is not born of love, it is born of fear, of pain, of agony, and her mother still tried to kill her. Regardless of her mother's intent, it was the first broken bond of trust and it left a mark on Minthara. Where she began to believe that her mother would torment her for torments sake, and she had doubts on whether or not her mother actually loved her.

When you encounter the first Orin imposter, it's pretty damn obvious she is terrified. And you kinda gotta squeeze it out of her to admit that she's afraid. Where it's "I'm afraid of Orin because she is capable of this, this, and this, and you should be too" rather than "I am afraid of Orin because she hurt me." And she begs you, BEGS, to keep her safe because she knows her fear makes her vulnerable to Orin.

She doesn't even truly acknowledge that she wasn't at fault for what Orin did to her until Orin is dead. She doesn't start putting the blame on Orin until Orin is dead. She doesn't go through the emotional process of sympathizing with herself until Orin is dead. And she doesn't admit that she undoubtedly has trauma, until Orin is dead. She gets so wrapped up, and so lost in her own fear and paranoia that she never has the room to properly process the things that happen to her. That her primary concern right now is keeping you, the others, and herself safe and her emotions can wait because wallowing in them will only make her weak. Only does the distance of death give her the room to start healing. Only problem is that there have always been threats and they never end, they never stop. So it is rare for Minthara to ever have a moment of peace and safety to work through what she feels and they just get backed up. Ignoring your problems does not make them go away.

So you wanna know what will happen when an embrace Durge betrays her? She will fall to her death, a knife in her belly, blaming herself for your betrayal. All her worst fears have come to pass and you were indeed a lover who hurt her because she loved you, and that she was a fool to ever trust you at all. That if she didn't love you, maybe you wouldn't have hurt her. She doesn't understand your reasoning, she can't make sense of it, she doesn't know why you'd betray her, so it must have been her fault for thinking you'd be different. That if she hadn't been so loyal, so devoted, that she could have been spared. That her belief that you would rule together is what damned her. She will die blaming herself for her own murder before she ever gets a chance to start blaming you.

[janitorpostman]

people who are like "oh no they ruined Caitlyn she is on the bad side now" am I the only one glad that Caitlyn's character took this turn? She was the face of the enforcers to the viewers for such a long time. She was kind, compassionate and diligent, the perfect "good cop".

But that's not a fair representation of the enforcers now, is it.

Vi and Powder were orphaned by enforcers. Kind? No.

When in order to survive, they snuck into Piltover to steal goods to sell them, it was enforcers's job to catch and punish these kids, no questions about what kinda life drove these children to do that asked. Compassionate? No.

When Vi got kidnapped arrested. She was put in prison for 6+ years, I doubt there was ever a due court process to determine whether this child was really guilty and deserved imprisonment or not. Diligent? No.

[thelastharbinger]

Tenoch Huerta on why the idea that “hard work always reaps its rewards” isn’t true. Talent and hard work alone doesn’t guarantee entry into certain spaces (you’ll always be sidelined even when you’re included), but it will determine your longevity once you force your way in.

[sin-sidejob]

alright, we’re hunting down Netflix executives

[catkin-morgs-kookaburralover]

This story, for which there are seven parts, is dedicated to everyone affected by Hurricane Helene. It was not written because of that, but a water-based natural disaster is part of the plot. It does not focus on it, but is a story of hope. The text of section one is under the cut. I hope to post all sections before the end of the Inklings Challenge. Despite this being my third year, this is the first I've actually posted anything other than snippets, so I hope I'm doing this right. I haven't yet written more than this, but I do have an outline for the other six parts, so hopefully that will work. @inklings-challenge

One: Admonish the Sinner

First of all it must be understood that every world is connected, as every village is. Some are just further away.

This is not a story of Earth; this is a story of a world nobody bothered to name, in a village nobody called anything other than the village. But that does not make it any less beloved—by people or by God. Sometime, a long time before this story is set, someone from Earth came to this nameless world and gave them the greatest gift of all, truth: but that is another tale entirely.

The night sky of this world is strikingly different from ours. Most prominently, two moons watch the world below, and every forty-seven years or so, flooding hits the island. They call it Big Tide, for it is the pull of the two moons combined that does this. It is regular enough, and has enough warning signs, that everyone should be perfectly ready for it.

As is common in humans (and these are humans like us, though the world is different), not everyone believes the evidence laid out in the world.

This is a story of Big Tide, specifically the one of the year three thousand, two hundred and twenty by their reckoning. This is a story of Paula McArthur.

%%%%%%%

The wattles were flowering, and it was Paula’s favourite time of year. There were several different wattles, but this was the deep gold ones she loved the best, the ones she gathered by the armful and adorned her home with. Now she only held a single sprig and enjoyed it to the full. It was too close to Big Tide to unnecessarily damage the wattle trees; they could be badly damaged by the rushing waters, and might need everything they had to survive. But one twig wasn’t going to hurt it.

The sky was a clear pale blue shot with fine clouds, a mass of them shining near the horizon with the sun gentle on them. Paula raised her face to the sunlight and closed her eyes, smiling. It was spring, and she never felt more alive than in springtime. 

She had been working all morning to prepare for Big Tide, largely transport. Her hands were tired of the precise positions needed to be held in order to hover exactly enough to transfer items in mid-air between hoverboards rather than landing to do it, which would waste time. Tide waited on no man, but Paula was skilled enough to know when she could be sloppy about hoverboarding, and enjoyed hoverboarding in a more slapdash manner than most people she knew. She had graduated earlier than most of her classmates from a controller to haptics. Tomorrow, though, she might use the controller again to make sure she was fresh enough to hover efficiently overnight during Big Tide itself. 

Presently she took out her lunch, and ate it while walking. In the distance a kookaburra laughed; Paula came to an abrupt halt as a green-blue iridescent flash clued her into the presence of a river dragon nearby. It turned and looked at her, bright blue eyes wise and calm. After a moment of silence and mutual respect, the dragon moved properly into her view and arched its sinuous back, raising its crest. Paula lifted her chin and brushed back the dark fringe to look more intimidating. The only sign the dragon gave of seeing any change was to raise its scales in a largely vain attempt to inflate its size. Abruptly it put down its scales and ran in a blaze of colour, uttering a high keening cry that faded as it retreated.

Paula turned to see who had disturbed her, smiling as she recognised the intruder. “What brings you here, Martha?”

Her friend grinned in response, lighting up her tanned sombre face. “You, actually. I came in search of you.”

Paula half gestured to herself, merrily. “Why trouble yourself?”

Martha grew serious at once. “I care about you. Aren't I allowed to?”

“Certainly, as I do.” 

Martha smiled a little incredulously. “Anyway, surely it's time to go back now?”

Paula raised a single eyebrow, then tilted her head back and assessed the position of the sun. “I guess. Why did you come to find me, Mar?”

“Oh, you know, I hardly see you now.” Her manner was evasive, which baffled Paula. “You're always out walking.”

“It's spring.” Paula waved the sprig of wattle at her. “The best time of the year. What's your favourite season?”

“Winter,” said Martha definitively. “Cold and empty and bleak.”

“Why do you like it that way?” she asked in surprise. Last time they'd talked about the seasons, she thought Martha had waxed poetic about the dying fire of autumn. 

“It's silent,” was Martha's quiet response. “Nobody bothers you.”

Paula paused to assess the time, decided they had to go back and led the way; Martha trailed her. “I thought you liked people.”

There was a short silence. “People don't tend to like me.”

“That's nonsense,” she responded immediately. Martha smiled, sad and sarcastic. 

“I don't tend to like me.”

Her calmness bothered Paula, and she sped up slightly. “Well, I do. You're fun, conversational and well read.”

“Which is why you disappear alone for hours.” She caught up and shot Paula a sidelong look, as if to say, I know your secrets. Except there were no secrets to know. 

“I like spring. It feels so alive and fresh, like all the past year's mistakes are washed away and there's new growth instead.”

“Very poetic.” Instead of amusement, Martha's tone was sour. She dodged past Paula and trotted quickstep the whole way back.

%%%%%%%

“I don't know what I did wrong,” finished Paula, twisting her hands nervously. “She got mad and I don't know why.”

Her mother glanced hurriedly across to check the next load wasn't ready, then turned to Paula again. “When people aren't happy it can be a temptation to take it out on others, especially those who are.”

“She said she was worried, and then she just changed and didn't want to talk to me.”

“Rebecca!” The shout made her mother focus on her own work; Paula moved her hoverboard closer to her father so he could load it up. This one was three bags of flour, heavy on the back and requiring stabilisation, which Paula remained still for while her father adjusted the controls. When it was done, he gave her a thumbs up and she gestured with her gloves, rising away from the site and on the journey to higher ground. It wasn't as easy to handle the unbalanced board; she would have done a lot more, and easier, with a transport hoverboard rather than the jury-rigged family board, but it was more economical and the decree had been that fuel, not time, was of the essence, since they'd planned well in advance. Indeed, today being the day before Big Tide, they had expected to have no more transport to do apart from the people, but someone had been digging too enthusiastically in their garden and cracked an underground storage container, so all of that had to be moved. 

She was most of the way there, wind in her face, when a fast personal hoverboard raced up beside her, village elder crouched to stave off the wind. He matched her speed, then unwound and said, “I'll take over from here. Take my board and go back—we need you to persuade people to go.”

“What?” She was already moving, assessing how to swap boards without any risk of either of them tumbling into the trees below while stepping across. “Why?”

He grimaced. “Turns out there are people who haven't prepared and don't want elders coming to help. Your dad suggested you could try and help instead.”

She started to shuck the gloves, then changed her mind and pressed buttons, keying them to the elder's hoverboard instead. As ownership switched, both boards lurched violently, and Paula barely held her position. The elder was wearing magnetic boots and so didn't run the risk of falling. Once she had stabilised it, she said, “So where do I start?”

“Ask your dad when you get back.” His expression was calm and focused as he adjusted the settings to accommodate for his weight. “For now, just get going. Time is of the essence. Big Tide waits for no man.”

[ray935sworld]

"Max is the bad guy"

You mean the Max that was telling the interview host that his behavior (clear protest against FIM regulations regarding interview statement) is not towards him and he doesn't wanna upset him?

The one who said no comments but promised the journalists more answers outside?

Him? Yeah... Right.

[carnivalcarriondiscarded]

Thought you may be interested in this-

hmmm you know it could be a blend of "Remember" and "rem" as in "REM sleep", i would put stock in That more than it being just a straight play on remember

WHICH. HM. okay bc as soon as i saw it i thought "oh! like the REM stage of sleep!" but REM stands for Rapid Eye Movement - the stage characterized by high brain activity (vivid dreaming).

so either it being specifically REMderem has meaning, or it's just the best play on words (maybe in relation to "remember" as you've pointed out!)

[swan2swan]

Kubo giving Harribel the power of creating water, the critical element for life, meaning that she's a Hollow who can transform the desert of Hueco Mundo into a place capable of sustaining life in a natural way...while placing her Hollow Hole inside of her womb, meaning that she can never bear children or create life of her own, perfectly embodying the theme of Sacrifice...the man is operating on a different level.

[katabay]

the long story short is that I have been having a Terrible Week plagued with Events and Problems, and ended up binge watching the entirety of Ultimate Note for a second time this year. and also did a re read of the novels I've been meaning to do. and also thumbnailed out a bunch of HeiHua comics because these two. ooooooh these two

anyway! it's some kind of. scene. it's not really set during anything or following any kind of adaption, but immediately following this, Xiao Hua gets to save Hei Yanjing from a trap because I believe in equal opportunity dramatics for them, I just,,, haven't finished drawing it yet because I realized I would have to: Design A Room and then Figure Out Some Kind of Equally Perilous Trap, so please use your imagination until then, thank you 🙏

[skunkes]

i may be stupid