#loving freely

[purefilly-connection]

Freedom: A State of Mind and Being

What does freedom mean to you? Freedom is a concept that transcends mere physical liberty; it’s a state of mind and being. It’s about feeling unrestricted, unbound by constraints, and being able to do what you want, when you want it. For many, freedom is found in the simple act of taking a walk, a hike, and immersing oneself in the beauty of nature. It’s about feeling connected to the world…

[contactlessdrivethru]

there is something unique and deeply special about monkey d luffy as a protagonist. he’s overwhelmingly ADORED by the fandom. he’s consistently the most or at least top 3 most popular characters in the whole series. peoples takes about him are gushingly positive. and that’s… really uncommon.

a LOT of fandoms i’ve witnessed or been in have a tendency to favor characters other than the main character. especially in anime. the main characters are often written as a blank slate for readers/watchers to project onto, but that makes them not as interesting and so they don’t get the fan attention.

but luffy is so far from that. and he’s ALWAYS been this way. we love him so much. he’s the heart of the story and the heart of the fandom in every single way. and i think that speaks to how well-written he is as a character. he’s fun and charming and complex and interesting and he makes us laugh and cry and cheer and hope and love. he’s able to inspire so much joy in people, both in his world but also in this one. and i think that’s really special. i feel so grateful to have found this story that means so much to me, and i’m so grateful that luffy exists.

[officialmiintee]

“this is it. I want to stay here forever”

[skyleerez]

Ya basta con mis papas divorciados. Les juro que con un beso se arregla todo.

Ojalá que no se note la flojera que me dio coordinar el audio con la animación xd

[olessan]

The Rings of Power 2x08: Shadow and Flame

"My place is here. You know it is." "And where is mine? If not with you?"

[poorly-drawn-mdzs]

In the world of heavy metals, love is denser than hate!

[somerandomcockroach]

[zeravmeta]

sometimes im normal and then sometimes i think about how robin had been on the run for 20 years starting at age fucking 8 and when we meet her she's actively aiding in the destabilization of a country and gets so many people killed but one of the first things luffy says about her is that she isnt a bad person. I particularly think about her first appearance and her interactions with crocodile, because crocodile is (much like other OP characters) kind of a ridiculous man in his dramatic overcoat and his giant pets he feeds people to and. do you think robin was emulating him in that way with her own personal giant dramatic coat and cowboy fit. on the run for 20 years ever since she was a child, having to make herself useful to people so that they wouldnt suddenly abandon her, emulating her boss not only to gain his favor but also to try and appear intimidating herself? how many times had she done something like this. robin is a character who presents herself in so many ways, always wrapping herself up in an air of mystery and intrigue but shes also so deeply childish, she constantly makes morbid jokes about her situation because the last lesson one of the only people who cared about her gave her was that what else is there to do but laugh. to never stop laughing. having lived on the run she knows that an assassin is most effective when their weapon is concealed and yet she freely shows off her powers just to gain their trust. to play with luffy and chopper and usopp. how gratifying do you think robin felt when nami called her a sister. in skypiea she's constantly providing tactical assistance in how to survive in the wilderness but she's afraid when luffy and usopp start laughing at her suggestions. lets make a bonfire, robin! we're out camping, this is what you're supposed to do! she freezes in the same way she did when the kids on ohara laughed at her but even when the straw hats happily invite her to party she still stands on the edge, sitting further from the rest. she doesn't know what to do there. she had no will to live after luffy had saved her but one of the truly happiest moments she has is when she's not even cheering, just sitting in awe seeing the ancient city in the sky. was she thinking of her friends then? she never had friends her own age, just scholars multiple times her age and yet they were still her friends, who would never get to see this sight. when aokiji reappears and nearly kills them, shes stonefaced upon waking up that the straw hats even considered having a sleepover in her room. because they were worried about her. she's never had a sleepover, and it's something so simple to the straw hats, that of course they wouldn't see their friend as someone to use. she's never escaped the headspace she was in when she had to run away from the mountains of corpses of a burning ohara. the first and last thing her mother ever said to her was that she didnt know her, no matter how much she wanted to embrace her daughter. she never had the chance to say goodbye. she never had the chance to grow up.

sometimes i think about how nico robin was in many ways raised by her friends in the straw hats with their love for her and hauve covid

[mobius-m-mobius]

Maybe he wants to mix it up. Sometimes you get tired of playing the same part. Is that possible? He can change?

The Avengers (2012) // Loki (2021 - )

[galedekarios]

Gale: "You give me hope, and I've not had that in some time."

[gummi-ships]

Kingdom Hearts 3 - The Caribbean

[herewegobebe]

Taemin ✦ Instagram Live 240519 [x]

[gldnstrngs]

i have so many Thoughts… nick and charlie are merthur in another life where they got to be happy :(

(if anyone has any fic recommendation of something like this or heartstopper!merthur pls link i NEED this)

[the-ace-with-spades]

(I adore fics where Johnny’s family loves Ghost from day one, but, you know…angst)

Soap and Ghost had been together for almost two years. They never name the relationship, really, but it's serious and they both know it.

Thing is, Johnny's seen Ghost's face a total of four times, counting Las Almas.

Well, he sees parts of it regularly, more than others. Ghost will either roll the balaclava up when they're reading together in bed or when they're eating. Sometimes, when Soap wants to go out and Ghost indulges him, he goes in public in just either a face mask or a gaiter and Soap can see his short wavy blonde hair sticking all over the place and 

The four times he had seen Simon’s face in it’s whole — obviously, Las Almas; one time when he was unconscious and bleeding from a head wound and Johnny had to check; one time when they took a shower together, Simon stayed with his back toward him through most of it, but when they finished, he let Johnny dry off his hair; one time, when Johnny asked him to see him for his birthday presents, a few minutes after midnight.

Johnny wasn’t sure why exactly Simon didn’t want to show him his face. It wasn’t a trust thing — he trusted Johnny with more than his own life — and it wasn’t like he was ugly — he was downright sinful. He never drilled the topic because he didn’t care, if SImon wasn’t ready, then he wasn’t ready, but if he had to guess, it was all to do with identity and being seen. No one knew his face — people could know his name, Simon “Ghost” Riley, but they wouldn’t know the man behind the mask. Wouldn’t know the people behind Simon “Ghost” Riley.

(Johnny wasn’t completely off on the assumption — Simon didn’t want anyone to know his face because faceless people weren’t missed. Faceless graves — like his own — didn’t have people to leave behind, and faceless soldiers didn’t have loved ones to find and he was both. No one could get hurt if he remained faceless. Or at least that’s what he’d been telling himself.)

And Johnny is okay with that — if Simon never showe him his face again, he’d still love him all the same. Johnny’s family? Not so much.

They’re supposed to be in Glasgow for five days total, leaving after Boxing Day. Johnny gives them all a warning, that Ghost is a bit shy and doesn’t like showing his face, he’ll most likely stay covered the whole time, he might be wearing a balaclava, or a mask, he probably won't eat at the table.

When they arrive at his parents house, it almost seems like everyone forgot. Like everyone thought it'd be more mild or that Johnny was exaggerating.

There are looks. There is silence. People can't stop staring.

His mam takes one look at Simon’s balaclava once they enter the living room and looks funny at them. “Ah thooght Ah tauld ye boays tae strip doon.”

“Mam, lea him alane,” he tries but he can tell that Simon is getting tense and his mam is getting tense.

His mam, who is usually the sweetest person ever, is uncharacteristically quiet and curt whenever Simon is around. Simon doesn't really know how to make it better — Johnny's never seen him so silent outside of stealth missions, he just stands there like a sore thumb, not making anything less awkward. He didn't expect him to — Simon's social skills are lacking and he loves him that way — but he expected his own family to not make such a big deal out of that mask.

His da is stern and silent, which is as disapproving as he gets. His sisters are a bit weirded out, but mostly focused on teasing Johnny, even making fun of the mask. With a stupid grin, his older sister asks, “Does he keep it oan in bed?”

Johnny doesn't say anything to that, even though his face feels red. His sisters stop laughing.

“He does?” When Johnny tries to step out of the room and avoid the conversation, his sister’s tone changes. “Hae ye e’en seen his face?”

“O’ coorse Ah hae,” he spits out. He doesn’t specify it was only four times — he doesn’t think it’d help. “And ‘s a bonnie ane, alricht.”

It doesn’t save the situation and his sisters are also weirded out and wary from then on.

 The kids do not care — they ask maybe two questions, tilts their head as Simon explains and that’s it — and Johnny breathes a little easier as soon as his nieces push Simon outside to help them build a snowman.

The judgment doesn’t stop. Johnny’s blood boils any time it shows and even though Simon says it’s all fine, he can’t stop feeling angry about this. They just can’t get past the mask.

Christmas Eve and Christmas Day are difficult to Simon and Johnny knows it. He’s given him the option to omit the family dinner on both those days if he’s not feeling alright enough to spend those days in crowdy house filled with a flock of loud and cheery people of all ages.

Simon knows this. He also knows that if he says he wants to stay at Johnny’s flat for the time being, Johnny is going to insist he doesn’t have to go either, that he’d prefer to stay in with him and not go for the Christmas dinner. Which he also knows is bullshit — Johnny loves Christmas, loves spenidng time with his family, that was basically why he kept on insisting Simon couldn’t stay alone at the base for Christmas another year in a row. It was the main reason why he agreed to go with Johnny in the first place, he was pretty sure if he didn’t go with him, Johnny would insist he stays, too. 

So Simon stays in for Christmas Eve — or rather goes to a pub while Soap spends the day with his parents — but insists they go to Christmas dinner. 

His family is disappointed to see him there, to the point the usual manuevering around politeness and disapproving go onto a backburner.

“John said yer nae a fan o’ Christmas,” Johnny’s mum says to him pointedly.

“That’s right.”

“And yet ye’r ’ere,” she notes.

Johnny is far away from the earshot and he doesn’t want to lie to her so he admits, “If I didn’t come, Johnny would insist on keepin’ me company.”

“How come ye dinnae try to hae a bit mair cheer fur th' holidays then? Put a bit mair effort in for ma baby.” 

Johnny notices and soon enough, he’s next to him, their arms brushing, Johnny’s hand on the small of his back. “Lea him alane, mam.”

“It’s fine,” he says even though it’s not fine. They deserve an explanation, even just to know what they son is getting himself into. “My family was murdered on Christmas Eve. I’m—I’m trying.”

The silence falls over the room — Johnny’s mum, dad, his sister, all present, not looking at them. Simon closes his eyes, tries to breathe.

Johnny rubs his back. “Let’s gae home.”

“I’m not ruining Christmas for you, Johnny,” he says. Before Johnny can deny it — and he knows he’d try — he tries to placate, “Let’s just have ourselves a minute to calm down.”

Maybe it’s the way his voice is perfectly levelled or the way his hand trembles as he squeezes Johnny’s, but he lets him leave the room.

He steps outside — to the backyard. Sits down on the step to the garden and lets the snow soak through his jeans and the top o his balaclava.

The kids come outside, tripping over Simon’s legs. They were all oblivious to the trails and errors of Simon’s integration into the family, so they approach him as always

“Whit's wrang?”

There’s just something so innocent in having a six-year-old girl covered from head to toe in pink and glitter worry about you. Simon would never admit it in front of Johnny, but he finds the accent cute.

Simon takes off the mask.

The kids all look at him and look at him, a bit unsure maybe a bit fearful — it can be a scary sight, he admits, the elongated, jagged smile that sticks to him no matter the mood, makes him more crazy than he already is — but only one of Johnny’s niece keeps her eyes on Simon’s face. 

Shily, she asks, “Does it hurt?”

“No,” he replies. When she smiles, he smiles back.

Not anymore.

This is Johnny’s family. Simon can deny it all he wants, but Johnny’s seen him as family, as someone he’d leave behind, and it hadn’t been unrequited. He can’t hide behind a mask forever and maybe this was the kick he needed.

He steps back inside when his hands turn numb. He doesn’t put the mask back on.

Johnny’s eyes widen. “Simon?”

Simon just—smiles. He can feel the scars pulling on the corners of his mouth, the stiffer skin, but he’s not faceless. He’s not been faceless for a while.

Edit (29/03/24): This is now a WIP for a minimum 15k fic, titled don't shoot me, santa, that will have 4 chapters and will be posted (hopefully) later in the year

[last-flight-of-fancy]

Started thinking about Riku-Kairi parallels and symbolism wrt the ending of kh2 so please hold while i get needlessly verbose about it-

specifically it started with this gif

and ofc adhd is as adhd does and started going down the rabbit hole of connecting the dots.

The act of reaching out a hand/hand holding is a recurring thing in kh, the vast majority of which is chock full of meaning and symbolism, and this is no exception. This is the culmination of The Hero's Journey part of Sora's tale, the return home, and the heartfelt reunion between long-seperated friends. fun fact the heroine's journey follows the hero's journey for the first third or so before continuing on. kinda like how kh continued on long after things seemed to be 'resolved'. weekly plug to look up Howler's Heroine's Journey essays if you haven't yet

The angle from which I am viewing this scene right now is in regards to ofc Riku, and his own iconic pose that we see the first time in the intro to kh1 (and many, many times since)

And this is where my riku-kairi-are-inverted-parallels-to-each-other brain starts barking like a dog because oughghghghggh same pose opposite side completely different body language- AHG.

And this matches their character arcs (as well as their respective combined arcs with sora) to a T as well. Riku's pose is the first we see, way back in kh1, and his hand is as much a taunt as it is an offer. Very befitting his relationship to sora in that game, which was coloured by a forged rivalry and intense jealousy (to quote the ultimania; Complicated Feelings) of/for sora.

(it is also notable that to date this gesture has yet to be resolved. the closest they've gotten is when sora grasped Riku's hand in kh2 on finding him- albeit in Ansem's visage.

Symbolically this is Sora attempting to accept the gesture, but this time it is Riku who fails to meet him halfway, too deep in guilt and regret to feel worthy of it. his hand is turned downwards, limp and unresisting.

And again in DDD when Riku grabs sora's hand/wrist in an attempt to wake him from his nightmares, but this time sora isn't capable of reciprocating. like two ships passing in the night, always reaching but never quite meeting)

(this one isn't quite as strong in the visual symbolism specific to the Riku Pose, but i did think it bore mentioning)

to return to the first gif however, for Kairi her posture is much less stiff, leaning forward with palpable releif at Sora's return. Honestly the fact that she holds out her left hand (which as far as i know is not her dominant hand) marks this as a very deliberate choice to parallel her as opposite to riku. and much like the rest of kh2's ending, it FEELS like a culmination, a completion of their arcs.... and most certainly isnt.

Which i mean to say, it's a mid-point. And the reason I say this is because of one little thing.

The seashell charm.

There's a sort of irony here in that the charm that was meant to reunite them in this moment is also symbolically like a wedge between them. A heartfelt and meaningful gesture, don't get me wrong! i love this scene and the genuine emotions within, but i do love chewing on the way this gains a slightly different meaning in the greater context of later story beats; specifically that of kh3.

With how pointed and direct the parallel is between kairi and riku in these scenes, it did make me pause for a moment thinking about kh3. i know we've all seen a thousand and one analysis' of the paopu scene at this point, but forgive me as i must do so again under this specific lens.

'how does the paopu scene relate to the hand extended gesture at all?' i hear you ask, and on the visual surface not much. it has more to do with sora and kairi's relationship arc through the games and, of course, the lingering loose thread that was the cave drawing.

The paopu scene is a touching recreation of that cave drawing, one enacted by a pair of kids who didn't know if they would live to see another sunset. It's also probably the most symbollically dense thing in all of kh and that is saying something so I'm going to try and keep my observations limited to just what is relevant to this post- and that would be the way that the paopu scene is a direct continuation of Kairi's 'you're home' gesture in kh2.

shooting stars are also a common recurring symbol in kh, and that's the symbol that ties these two scene's together. if kh1 is two disparate stars each trying to reach the other (the cave drawing, the seashell charm, the way their hands are seperated at the end of kh1), and the end of kh2 is that of the stars finally meeting (the single seashell star charm pressed between their palms), then the paopu scene is that of the stars passing each other by and beginning their own journey's anew (two stars held by crossed arms, each now holding a small piece of the other (bitten fruit) to show that their meeting may have been brief but it was meaningful)

it is in this way that kh3 quietly and tenderly closes out sora and kairi's combined arc, as two unlikely friends who then drift apart again, shining brightly for the shared experiance, Remind mostly serves to support that finality, tying up the last couple loose ends between them, and leaving the two far more comfortable with each other than they ever were while that arc was still ongoing (which i read as them no longer being uncertain as to what their relationship is; that of friends, and not whatever so many others around them had pushed and assumed)

(seriously look at how much more comfortable they are with each other the second the pressure to be something they're not is off. the awkwardness is completely gone i love it)

All of this is ofc still in parallel to Riku, who boasts no such star imagery (instead he has the iconic Heart of KH itself), and in fact while he symbollically continues to reach out to sora, physically he has completely refrained from doing so at all- in fact most examples of the Gesture in kh are deliberately invoked by other characters in order to bring riku to mind in some way (and often more for the players benifit than sora's)

axel in CoM,

(i have given up on tumblr gif search)

YMX in DDD,

which then immidiately cuts to riku in kh1 just to make it as blatant as possible that yes the reference is intentional (i guess CoM was too subtle somehow so they had to make sure this time)

and even Riku himself to Namine at the end of kh3, representing Repliku's final wishes in a funny sort of symbolism oroboros.)

and it's not a coincidence that the completion of that connection provides definitive closure to the arcs in question; that of namine to repliku, but also a little bit to riku himself. namine still has a role to play, but that role (i think) is more or less exclusive to her relationship with sora. namine and riku's relationship arc, background as it is, is complete, and now both are connected primarily through their incomplete arcs with sora.

(which makes the way that sora and kairi's example in kh2 is a complete outlier really interesting tbh. smth smth thinking your relationship is one thing and if it was that thing then yes that would have been the end, but it wasn't that thing and thus it wasn't the end smth smth comphet metaphor smth)

which brings us back to how riku himself hasn't really reached out to sora directly since kh1, the act that set off both of their journey's. The reasons for that are many- guilt, fear, a certainty that sora will not reach back and that he doesn't deserve it anyway- but despite that the Gesture is still subtly affirmed as being Riku's over and over again, never quite letting the audience forget it... because eventually this bit of symbolism so consistently portrayed throughout the series will reach its own conclusion, starting how it began with one deuteragonist reaching out to the other, and this time the other reaching back to complete the gesture.

[veroinfaciem]

04. flight

The man can clearly do both lol