#it's so damn confusing

[houseofwolvess]

wait. okay, folks who've been to a fall out boy show:

why do they divide the fuckin floor?? like, are people physically sectioned off in the venue and forced to stay in the same place or something?? do they divide up the line outside??? how does this even work???

[keferon]

It took me a while to read chapter 70 of Mistakes on mistakes until because I can't just. Youknow. read it. I have to be a total maniac and sketch everything I like as I read, so this whole chapter took me an absurd amount of time ahahaha

[bookwyrminspiration]

constantly torn between "i wish I could magically learn this language immediately and speak it perfectly" and "part of language acquisition is the process, and learning it immediately wouldn't have as much meaning or significance to me"

[ssaraexposs]

Dazai IS a fucking mood

[s0fter-sin]

everyone makes fun of soap when they find out how many hair and skin products he keeps on hand. the cabinet in his bathroom is filled to bursting and he always keeps travel sized bottles on him on missions

when soldiers outside the 141 find out, they call him precious and self-obsessed, a vain pretty boy too preoccupied with his reflection to focus on the enemy. no wonder how he got his callsign. price has given up telling him to leave them on base and just teaches him to individually wrap them so they don’t rattle against each other and give himself away

what they don’t know is that each product contains an ingredient that when mixed with any number of the others, creates potent chemical bombs. he was caught unarmed once, he won’t let it happen again

[lurukifennecfox]

a prompt that my brain concocted from a combination of other things i saw on Tumblr or Ao3.

so jason's family teased him for being single because they're just shits like that, so Jayson implied he wasn't and he was just protecting their privacy from being stolen by the bats.

now Alfred invited his partner for dinner which would be a problem since they don't exist.

fast forward: Red Hood has been bridal-sacrificed to the ghost king in front of the bats

for whatever reason he decided to ask Danny(said king) to play the fake partner because why the fuck not?

Danny having had the same problem with his extended Fraid agreed. (good fenton parents, maybe a little overboard like they are with everything and are now scaring the hoes with cultural questions)

so now the batfam has to deal with the fact that Jay's mysterious partner is the Ghost King(technically a prince since he's too young for a ghost and has a life to live even if he chooses to live it more ghostly)

add to that ghosts screwed up traditions and preferences and you have me.

[pearlsdiamondsandvodka]

damn i almost wish the intrepid heroes had done worse this episode because the concept is of this battle was epic as hell. i would have loved to see more of baron being creepy, a confrontation with jawbone and i would have loved to see the other players play baron

[astrobolical]

Okay.

As much as I love feral Satan, who lets his instincts run wild and growls, bites and everything else… his soft side is so fuckin’ cute.

The Satan that stares at you in confusion as you tend to a small cut on his hand he’d received on one of his rampages, unbothered by the mess around the two of you and concerned solely with him. How he doesn’t quite know why his chest feels so warm and tight as he looks at your gentle, concerned expression.

Satan, who doesn’t understand why he feels so weightless with you, why his heart flutters and why he wants to hold you so gently, as if cradling something precious.

Satan, whose anger fades just from your presence alone, overtaken with feelings he’s never experienced, that baffle him entirely but he can’t get enough.

Satan, who desperately throws himself into research just to understand you a little more, to put a name on how he feels about you— who’s just as afraid of his own feelings as he is elated by them.

Satan, who worries you’ll be frightened of him if his temper rises, but you never are, even when he tells you that you should be.

Satan, who lays beside you, watching your sleeping face and utterly baffled that you trust him so completely to allow him to see you in such a vulnerable state… who knows deep down he’ll protect you forever.

Satan, who fumbles each time he tries to explain any of this to you, whose face becomes adorably reddened with each failed attempt.

Satan, who realizes that you’ve accepted him entirely, his every fault, his everything, before he had even come close to accepting himself. Who loves you more than he could ever put to words, or that he could ever really comprehend.

Just him. You know? Ahh, just helping him come to terms with everything he doesn’t know, to grow and understand. Helping him, in the end, to love.

[ryllen]

and some extra unused stuff while they are in affectionate mood

[kpchrs]

[icarusredwings]

Thinking about Wade sleeping on the couch so good that Logan gets really scared that he fucking died (because he smells like death) so hes internally panicking and is worried because 'OH GOD Theyre going to blame me! They always blame the guy with knives for hands!'

"Wade? Wade!" But he doesn't wake up. He shakes him even and nothing. It only terrifies him more.

So anyway, he paces around for a couple of minutes trying to think what to do, how this happened, and 'Oh no, not again!?' Only to get really close to him, trying to see if he's breathing, but the thing is he's sleeping so soundly that he's barely moving at all.

"Wade!! Wake the fuck up! Or.. Or ill leave!" He whines, knowing he dosn't want this. Still he dosn't move. Gritting his teeth, he tears up.

Eventually, he crawls on top of him, puts his head on his chest, litsening to the faint heartbeat.

The weight is enough for his eyes to flutter open with a genuine look of confusion only to put an arm around him and pull him to the side.

"Mmh.. have a nightmare or something?" He grumbles and now Logan is 'trapped' between Wade and the back of the couch.

Out of both shock and overwhelming relief, he growls and stabs him in the gut.

"Ow!! Hey!?"

Only to be grabbed and held close. "D-dont do that! You fuckin' moron!"

[rbvcdeluxe]

every time someone makes good richie lipschitz characterization an angel wins their wings back

[keferon]

Okay I’m. Usually. Usually I don’t enjoy human aus and usually I hate drawing transformers as humans because it feels so wrong to my brain.

But then I stumbled upon Dream of something more by Gemma_Inkyboots and aaauuuhh fuck. Here’s the pile of the most vague and unspecific and undetailed fanart. Because I’m being torn between “I can’t drawing human designs” and “If don’t draw something for this fic I die”.

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[charleslee-valentine]

I’ve spent a long time now sorting through screenshots, behind the scenes footage, designers portfolios, and I think I’ve deciphered the map of Ambrose.

Starting on the left side of the street, there���s a hardware/outdoor store, noted by the wheelbarrow outside and assorted parts on the shelves.

Connected to that is a small plaza with a Dentist’s office (the window stickers mention denture prices), a diner with outside seating, and what appears to be a bar judging from the bar stools in the window. It may be connected to the diner.

Finally for the end section of the strip, this shop is less clear, but based on the sign that ends in “-ium” and the button tufted display, I’m guessing this is a premium/high end store or some kind of emporium.

Directly across the street from that is a club. The window faces the street, and around back is the entrance. Also in this plaza is the pet store Carly walks to, a drug store, the grocery store (Flannery’s) that Nick goes to, and a barber shop.

Crossing the street again, there’s a large bowling alley.

Surrounding the bowling alley are residential homes as it transitions into neighborhood territory. You can tell from the fences around these homes that they aren’t public property. The one directly next to bowling lanes is the green house that the wax woman looks through the window of.

Crossing the street again, this part was already labeled by the lighting plot, but that’s the garden (really just some dead shrubs and a gazebo,) the cemetery, and the church. There’s also a second building on the church property that shares the same sidewalk. Although it looks completely nondescript, buildings like this connected to church property would usually be used for non-worship activities like Sunday school, community events like meetings, or funeral services (though Trudy’s viewing is right in the main church, so that’s less likely.)

With the church as a reference point, going back down the opposite side of the street, there’s what looks to be some kind of fashion or accessories store. In the window, I see wig heads wearing hats, and maybe some shoes. I found a sketch of a storefront that also reminds me of perfume bottles and shoes, so the idea was at least considered.

Obviously as the two buildings have back to back doors, next to this is the Guns & Ammo store that Nick and Carly break into. This also connects directly to the movie theater.

The theater is also connected to a small electronics store on the other side.

Directly across from that would be Bo’s gas station. There’s a huge advertisement right next to the station for financing loans, but the front of the building it’s painted on shows its a media video/music store. (ps the yellow truck Vincent drives is the “company” tow truck for the station.)

Connected in a plaza with the video store is a dry cleaner and, based on context clues, a furniture store. In the possibly furniture store window, there appears to be rolled up rugs or carpets, and a large wooden shelf. The strange point of view of the shot where these shops are visible seems to imply that the businesses once had apartments over top, or at least that things are being hoarded in the upper floors.

Across the alley street from that is a fire station, connected with city hall. This is where the Miss Ambrose posters were displayed. On each side, there are blue garage doors, possibly with more emergency vehicles for the town.

The House of Wax and the Sinclair house are placed at higher reliefs than the other businesses and homes, symbolizing their importance and once, their wealth and celebrity status.

[itsdivineart]

TOTAL DRAMA RELOADED?!?!?!