#maybe i just think you're pretty

[mirrorhouse]

I have what you're looking for. High quality. Befitting a man of my tastes. I have a room over on Divisadero, not too far a walk.

[willowser]

on the topic of princely bakugou—

i love the idea of his hand in marriage being the peace offering between your kingdom and his clan, as in he comes to live with you and rule in your castle. and he genuinely wants to do a good job; he's not coming in and tearing down the walls or defiling shrines or anything like that, because that would be the easiest way to lose good graces with his new realm.

the thing that i love the most about this is him being so barbaric, raised in a completely different way from you, taught to value different things and rule a different way—and yet he's sitting with his council (half of which are appointed men that swear loyalty to the realm regardless of who rules, and the other half being men he specifically chose and trusts) dressed in his furs and boots, scars out for all to see, and he's carefully trying to read letters and documents and negotiations, like a civil man would.

and it's not that he's changing anything about himself; he is firmly, to the core, always going to be a wild little barbarian pup—but he's grown enough to know the difference between respect and surrender. to know that he will be nothing without the support of the people, and to lose that after fighting so hard for it would be foolish.

he's very different than you expected, than you were ever taught to expect; your shared bed is too soft for him and he tosses and turns all night and gets up before the sun rises; he cooks, and you've found him fiddling around in the kitchen on more than one occasion; he values your opinion on a multitude of matters, and speaks to you more about politics than your father ever did.

you were told that he'd ravage you in the dirt, dripping sweat and the blood of your people, but—he hasn't laid a hand on you, hardly speaks to you unless it's absolutely necessary. you can almost feel it, though, sitting in his throat when you're across from him at the dinner table, or when he sits at the edge of the bed and looks back at you over his shoulder.

everything he does is so careful, thought out, and you think he might be doing the same with you, too. not barging in or breaking down doors, but waiting, patiently, for you to open up your heart to him.

[gummi-ships]

Kingdom Hearts 3 - Arendelle

[snackugaki]

one orrrr

two?

[halfdeadwallfly]

[originalcontent]

I can't find art of my ship anywhere so I GUESS that means I have to make it myself, here are some doodles.

[espurr-roba]

strelitzia being in kh4 is everything to me, especially considering the true dandelion sitch. like the reasonable assumption is that this is strelly after being slain by darkness, quadratum is like her afterworld, that sorta thing. that on its own is fun bc, hey, more strelitzia! she's stranded in mortal limbo without any of her loved ones and that's something she and sora can relate with, it's already a terrific set up

but imagine if this is data strelitzia, the one in the white cloak that luxu sends off in the lifeboat. we know from melody of memories when apprentice xehanort's sending kairi off that ending up in unreality is assumed to be possible via the pods (see: "However, if you arrive in a world that's neither of light nor darkness, but somewhere on the other side, your task will be far from easy.")

picture you're a copy of the original person, with full knowledge that you're a copy, and between the both of you, you're the one that gets to live on as "you".

[beanghostprincess]

When you think about it the stage of Sanuso not standing each other was very short because when the strawhats entered the grand line they were already pretty clingy to each other. So imo they pretty much started enjoying each other's company after the Arlong park arc

Yeah!!! I mean. I believe Sanji and Usopp didn't like each other at all at first because. Well. It's for obvious reasons. They might have similar experiences with their insecurities and trauma and way of coping, but that's hidden deep, deep down and they don't find out about that bit and their strengths until later. Without that, they're extremely different. Like, extremely.

And if the first thing a waiter in a restaurant does is flirt with the girl and treat all the others like shit, well, of course Usopp isn't going to like him. And if Sanji is trying to be polite and flirty to a gorgeous girl but some guy gets in between, of course he's not going to like Usopp. It's sort of that their personalities do not match at all at first, but then they see how they truly are and they start to get along.

The thing is-- They don't ever leave that dynamic fully, and I adore that. Despite getting along and being protective of each other, Sanji and Usopp still argue a lot over the stupidest things and they keep yelling at each other for stuff that doesn't matter because they're both morons and stubborn and I swear we don't talk enough about them constantly getting irritated by the other's shenanigans while also sacrificing their life for each other constantly. It makes their relationship so human, realistic, and genuine... It's one of the things I adore the most about this ship!

[gh0stz404]

"our grandpa made a respectful gay joke? i didn't know he knew how to do that!" -me when my grandpa makes a respectful gay joke

and the joke, for those of you who might be curious: "Someone told me my jacket looked gay, and so i told them "it just came out of the closet!""

[owl-bones]

people will say clothes have no gender until they see a guy in a dress and then they can't help but misgender him

[moregraceful]

my hot take as a person with an english degree and a library degree is that some of the dorkiest fiction and poetry ever committed to paper in the english language came out of the iowa writer's workshop so it is at best goofy and at worst completely futile to argue that your average amazon unlimited writer is having a more deleterious effect on literacy and literature.

[swordsonnet]

the most annoying thing about me/cfs is that it's more like 10 different illnesses in a trenchcoat. i'll wake up with a new symptom and be like "oh okay, guess that's what we're doing today"

[sciderman]

I’m sorry you’ve had to deal with so much Iranian hate and drama <:[

oh anon. hate to break it to you (a lot of people make this mistake) but iran and iraq are two entirely separate nations.

and also i think reducing it to the words "hate and drama" kind of doesn't cover it, anon.

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)

[dont-offend-the-bees]

Fuck I hate being an adult. I need a more adult adult to help with the volatile emotional situation.

[holmsister]

Kinda gets me when people age them down in AUs and stuff because to me those characters wouldn't be half as interesting if Chilchuck, Senshi and Mithrun were the tallman equivalent of in their twenties