#literally a feeling like no other fr

[olympiansally]

Hi, beloveds!

I haven’t really been here in ages, but I’m moving social medias again and will be most active at 🦋 @/olympiansally.bsky.social from now on! So if anyone missed me, you can find me over there, thank you 🤗✨

[imclou]

can't believe fnaf brought me out of art hibernation man what a turn of events

[phoenixcatch7]

Okay but it's super interesting how

Din = Power = Ganondorf

Naryu = Wisdom = Zelda

Farore = Courage = Link.

Because Din, in the hylian creation myth, created the physical world. Naryu then created the laws - gravity, time, etc. And Farore finally created life - plants and people.

Din created the body, naryu the mind, Farore the soul.

And the triforce and its wielders so perfectly reflect that.

Ganon is physical power, he is big and intimidating and he breaks things. He is cunning and determined, but that's not what he focuses on. He is might makes right.

Zelda is wisdom and cleverness. She is stall tactics and information and team work. She is a powerful mage with a spine of steel, but that's not how she'll win. She is the pen being mightier than the sword.

Link is courage and persistence. He is the wild card sneaking behind enemy ranks, always moving, plunging into terrifying situations head first. He's a phenomenal fighter with a keen wit, but that's not what will get him through his challenges. He is bravery not being the absence of fear but the triumph over it.

They sit in perfect parallels to each other.

And ganon is reborn through his body - his resurrection is immortality. No matter how low he is cast, as long as he has a body he can claw his way back. He can cling to his power, build it ever higher.

Zelda is reborn through the magic of her bloodline. It's the accumulated knowledge handed down for generations, the unique power she must master, the skills she must develop to survive and get her kingdom out the other side intact. Even her name, the knowledge of herself, is handed down from all the way from the very first. Her ancestors knowledge of her future presence, her stability, is what gives her the edge.

Link is reborn in spirit. He is not bound by flesh or blood. Just like his wanderlust soul he can reappear in any time or place. His variation, his unpredictability, is exactly how he fights. It's what makes him so hard to pin down.

Ganons need to build strength means he can't chase after link. Links impulsiveness means zelda can outwit him. Zeldas stationary predictability means she's an easy target for ganon.

But the other direction?

Fire melts ice, ice redirects lightning, lightning burns fire.

And that's the very essence of the triforce.

[kj-beastboy]

design by Vec @ OnionPowder_ on twt

I feel like... there's smth about it. it's not all that good, bc the pose is a bit awkward, perspective is a nice attempt but a little off and I drew quickly without thinking, later couldn't fix it/was too lazy/had no time, but the colors, the shading... idk, I'm oddly a fan of it so I'm throwing it here.

see it as practice/warmup. I'll never get to smth better if I don't let myself fail a bunch of times first. don't be afraid of failing.

[salt-n-salt]

IM ALIVE I PROMISE !! (dumps my trash out) HERE !

[jonsnowunemploymentera]

Something that’s always missing whenever people talk about Lyanna and the Kingsguard at the Tower of Joy is that these things should always circle back to Jon Snow. He’s our main character here. Rhaegar and Lyanna, as well as the Kingsguard, are all dead. They were dead before this story began. This tiny section of text is meant to give color to Jon — who is alive, and whose story is currently unfolding. The events at the Tower of Joy, told entirely through Ned’s fever dream for a reason, essentially serve as one thing: fantasy protagonist myth building 101. Three wise men, a legendary magical sword, some of the greatest knights of an era, a dying queen lady, the end of an age, a dead prince, a dead king, and then here comes a soon to be completely orphaned prince whose life hangs on the balance and whose survival depends on the compassion of one lord and his wizard friend. GRRM is literally retelling King Arthur’s backstory through Jon. This whole thing is one giant literary allusion to Uther and Igraine and the boy king Arthur, to Lancelot and his Joyous Guard, to Guinevere, and to tragic romances. It reads as an ode to Arthurian fantasy and is meant to backdrop the main protagonist’s fantastical origins. The Kingsguard are there to play into that. Their presence at the Tower, in that moment, was never about Lyanna; not solely, anyway. Their presence is tied to Rhaegar’s last surviving male child, and the language used suggests that they had chosen their king, for better or worse. Any discussion surrounding the Kingsguard’s presence at the Tower that focuses on anyone but Jon completely misses the point imo.

[royaltea000]

eldest daughter behavior

[ghostofsnails]

so did you guys know theres this character called tristan vik disventure camp and

[ryllen]

Look what came through the mail today! The letters & ( •̀ω•́ )σ 3 little gremlins from letterstoear.

Just wanna say i adore the flower stickers on the letters too much, they are that much worth mentioning.

[sunnibits]

bro I forgot about Arthur literally singing a romantic song in a fucking rowboat on a lake with John oh my godddd these bitches gay

[writterings]

me with my 18 year old students that i teach at a college

[chirpsythismorning]

S5 opener REAL

[corpsephrog]

i genuinely fear the riot that is sure to happen when byler is endgame i'm sorry

[thecrowsart]

👁️🦎🎯

(crops under cut)

[aq2003]

i saw a post saying boom was good bc it feels like it could be done with any doctor/companion duo and honestly that was one of the things i felt was wrong with it

[gayofthefae]

It's the fact that it's not just that their actions are suspicious/indicative of them knowing they have feelings for each other, but their actual dynamic itself has gotten closer. You can feel the build-up without the plot-pertinent conflict around the romance. The romance itself is at its core there too with the tv-typical buildup.

They weren't this close in season 1. We often talk about it as them always having been different and then realizing but they DO have momentum. They WEREN'T this close. Like any other love story, they have been falling in love in front of us, not just noticing themselves.

They were close, closer than the others it seemed. Then they built on that in season 2 - practicing their close dynamic more and getting more used to it one-on-one, building to Mike telling Will how important he was to him near the climax of the season. In season 3, they fought for the first time, breaking some very important relationship ice, in my opinion, fighting. In doing so, they opened up a conversation about their future. One that, even if they didn't continue it, was now out in the open and they knew that the other knew, and that affects dynamics as well. This ended for the season with Mike purposefully subtextually validating that he wanted that future with Will too. closer. In season 4, they fought again, repeating more directly this new dynamic of saying their feelings out in the open, asking "What am I to you? Am I still important to you? As important as I used to be?" and working their way back. Mike took a big step forward in their relationship by not just letting it be swept under the rug like in the past but coming back to address it and voluntarily iterate how much Will means to him and apologize. That indicated to Will that he might be able to do the same, though he ultimately backed out via the El cover-up.

They have built up. Even if their dynamic has remained the same, they have over the course of the seasons been working more and more up in ability to talk with each other about their feelings. That is what needs a climax in season 5 for their relationship. And for "we're slowly improving at acknowledging the feelings we already have" as an arc, there need to be more unspoken feelings than the "you're my best friend" we've established in past intimate conversations.