#no thought just connection

[last-of-the-lot]

One thing I find funny about the assembly scene we got in the recent batch of episodes.

All of us saw the fucker with a beard and pulled one of these

Instantly.

We are united in our hatred of that man. Even if he isn't that man.

[druid-for-hire]

[image id: a four-page comic. it is titled "immortality” after the poem by clare harner (more popularly known as “do not stand at my grave and weep”). the first page shows paleontologists digging up fossils at a dig. it reads, “do not stand at my grave and weep. i am not there. i do not sleep.” page two features several prehistoric creatures living in the wild. not featured but notable, each have modern descendants: horses, cetaceans, horsetail plants, and crocodilians. it reads, “i am a thousand winds that blow. i am the diamond glints on snow. i am the sunlight on ripened grain. i am the gentle autumn rain.” the third page shows archaeopteryx in the treetops and the skies, then a modern museum-goer reading the placard on a fossil display. it reads, “when you awaken in the morning’s hush, i am the swift uplifting rush, of quiet birds in circled flight. i am the soft stars that shine at night. do not stand at my grave and cry.” the fourth page shows a chicken in a field. it reads, “i am not there. i did not die” / end id]

a comic i made in about 15 hours for my school’s comic anthology. the theme was “evolution”

[qweenofurheart]

dynamic motion practice in the midst of a fight!

[asoftepiloguemylove]

A QUIET LIFE WITH YOU // ON DOMESTICITY

Everything Everywhere All at Once (2022) dir. Daniel Kwan & Daniel Scheinert // 呪術廻戦 Jujutsu Kaisen (2018-) cr. Gege Akutami

[theoldkyokodied]

One wedding and three funerals

Background paintings under the cut

[one-chaotic-neautral]

Arcane ships ranked, for fun

The main ships and some rarepairs I've found, I like pretty much everything in the first 4 rows. I probably missed some but idk what they are and I'm too lazy to add more rn.

feel free to add your thoughts or ships but again its just for funsies :)

[cheesenchalk]

i never know how to phrase it but something about the way beatles biographers and people in general view paul's reflexive placating persona and determination to smooth things over as manipulative or duplicitous and john's reflexive barbed persona and habit of lashing out as brave and subversive despite both being equally defensive mechanisms to shield themselves from the world that resulted in them saying things that weren't true says more about how we culturally view kindness or friendliness as inherently untrustworthy or flimsy and anger and carelessness as more believable as someone's true nature than it says about either of them in actuality

[o-sunny-day]

“Don’t… don’t tell him you think dingbat fonts are cool.”

AUGH @forgettable-au fanart :3 been on another roll with it (in agony constantly)

theres some untranslated wingdings cause i love translating it myself, hope others do too :D

not confident on how “canon” or in-character this is but- I HAD FUN this AU has really got me in the rendering spirit, I really enjoy taking inspiration but also adding mu own silly twists on it and AAA everything looks even more tasty now

I view this as them in New Home after getting something to eat (after the last page update) and heading back the same way since Alphys’ place is on the way to The Lab. The font convo comes back up again and then yeah

Alsoooo if youre interested in behind the scenes stuff heres the speedpaint :3

also i never poster about this- but i had another forgettable dream. it didn’t make any godamn sense. I woke up and drew the only scene I could remember:

Wingdings and Sans had a fight and ig wingdings killed Sans 😭😭😭 in a stairwell for some reason

and current Sans, Papyrus brother Sans, is like watching all of this and was brought here by Lancer like a Ghost Of Christmas Past type situation. Idk why. I choose not to attempt to make sense of this anymore. But i swear this is an actual dream i had 😭

[vaguely-concerned]

So much of Garak as a person starts to make sense once you know his childhood was a fucking gothic novel. His main playground was a graveyard and he'd play pretend by perfoming improv eulogies to an imagined audience. For a long time his main touchstone for most important figures from recent history is 'oh yeah I know about that guy my dad buried him. great flower arrangements for that one'. He finds out later his 'parents' are actually a brother and sister who had to get married to avoid the utter shame and social devastation of having a child born out of wedlock, and they live in the basement of his biological father's house. (the madwoman in the attic vs. the tiny elim in the basement.) His biological father calls himself his uncle and locks him in a closet whenever he fails to live up to his insane and unpredictable expectations and everyone just has to act like that's normal and expected, and his will hangs over everything at all times, unseen but always felt keener than anything else. The father who actually raised him grows the world's most beautiful (and as it turns out, most poisonous) orchids and keeps the mask of a god hidden in a box in his work shed. Everyone in the house is choking down secrets like it's the only air they know how to breathe anymore.

What I'm saying is that right from the get-go this guy never had the faintest shot at turning out normal, so I'm glad that by middle age he's found a way to get a bit silly with it as he continues to be deeply deeply not normal about anything ever <3

[dollypopup]

I truly cannot overstate just how much I adore Colin Bridgerton as a male love lead, and how important his story is, in particular in a current, modern reading. We live in a time of alpha male machismo that in many ways mirrors the sexism of the historical time period Colin is in, and we have a hero who explicitly rejects it. More than that, we have a hero who first tries on the persona, first tries to fit in, and then determines, with no outside influence and all on his own, that it's wrong. That he doesn't want to be like the men of his society, that he doesn't like the expectation of sex without love and commitment and connection, that he doesn't want to be 'one of the boys', even if it comes at their derision.

Because when Violet says he has always been her most sensitive child, when he has always considered others before himself, when he has always offered a joke or a moment of levity- for so long, he felt he had to. That there was no other choice.

Colin Bridgerton, The Great Pretender, is finally coming into the light.

Take my hand. Come walk with me.

Colin's arc is incredibly clear, and incredibly dear to me. We can track his progress throughout the seasons he has been in, but if we consider his backstory, it comes even more in clarity.

Piecing together a timeline with some influence from the books and loose historical accuracy, Colin loses his father at 12 and then is sent off to Eton. And he is a tiny thing when his father passes, shorter even than his 9 year old sister, Eloise.

(Yes, I checked!! He's half a head shorter than Eloise, and an entire head shorter than Daphne. This boy is SMALL)

So it makes a lot of sense to me that this is the start of his fake-it-to-make-it personality. He cannot grieve with his family in these circumstances, he's been sent off to school with other boys who are bigger and stronger than him, and he must realize relatively quickly that weakness in their eyes will never be tolerated. In fact, Eton was well known for corporal punishment and bullying during this time. Older boys were well known to mistreat the younger once, and considering just how small and soft-hearted Colin is, and just how vulnerable he is having lost his father-

Of course Colin would become a target of such.

And despite that, we meet him in Season 1 with an endearing earnestness and hopefulness in the world. Something inside him, something sweet and gentle and warm, thrives to live. And fights against grief to do so. How easy it would have been for him to lose his father and be bitter. How easy for him to see his father die from the steps of Aubrey Hall, to be sent to a boarding school away, and withdraw in on himself.

And yet, he doesn't.

At least, not in the way one would suspect. Instead, Colin becomes a chronic people pleaser. If the people around him are happy, then he will be safe. Will not be hurt. And they have no space for his own hurt, regardless. There's hardly even any space for his mirth, as most people didn't even reply to his letters on his travels the previous season.

In Colin's confession in Season 3, he says 'I have spent so long trying to feel less', and this numbing begins early in his life. He's a consummate gentleman in Season 1. He does everything by the book, everything as he should. He wants to be accepted in his society, wants to be taken seriously, wants to belong. So he sees a pretty woman, and he gets along with her well enough, and he courts her. Openly, honestly, in full view. It isn't a heart-stopping love, but he has numbed himself for years at this point, so affection will do, and if proper men of his society are married, well, maybe he'd finally be taken seriously.

And yet, no one notices him, even still. No one except Penelope. His own mother doesn't recognize his behavior, and worries for him after she does. How long has it been since she's actually seen him? We know from the show that he's incredibly close to his mother, and loves her dearly, but we also know that after Edmund's passing, Violet was mired in grief and post-partum depression. Colin misses much of this as a firsthand witness since he's at school, but that doesn't mean he wouldn't be able to tell, wouldn't be affected by losing his mother and father in one fell swoop. In fact, Colin loses his connection to the majority of his family in being sent to school so soon after the tragedy. So of course he comes back and he tries not to make waves. Tries to do things correctly.

His friction with Anthony proves time and time again that nothing he does is entirely ever able to fully please him, and this causes contention in their brotherly bond. Of all the siblings, Anthony is arguably the most harsh with Colin. And he is also the model for who a man should be in the family, as the head of the family.

So when Anthony sees Colin earnestly try to marry, he scoffs him off. Accuses Colin of only wanting to marry to have sex, and then claiming "It is my fault. I should have taken you to brothels." This is the first on-screen shaming of Colin looking for connection before sex, and Colin doubles down. He wants to marry for love.

But he doesn't actually love Marina. Neither of them truly know each other, and so when it all blows up, and he is humiliated to the entirety of his community, Colin gets his first taste of romantic failure. He tried to do it right, and it ended more wrong than he could have ever imagined. So, maybe Anthony was right. Maybe he is just a foolish, green boy, who has no idea how to go about things. The fallout of his failed engagement echoes in the persona he puts on in Season 3, and the choices he undergoes during them. Is it any wonder he ends up going to brothels to have unfulfilling sex if even his own BROTHER, the head of his family, tells him to do so?

It doesn't happen right away, though. Despite the fact that no one truly checks on him or sees how this breakup effects him (Eloise dismisses the hurt he must feel in light of such events with an honestly rather accurate wave-away "Men are always less affected", and that is true), it is evident that he is NOT okay.

We leave Colin in Season 1 putting on a mask, a happy face to his family, a 'you inspired me' to Penelope, and then spends his travels sad. Depressed. Taking drugs to try to ease his mind, occupying himself with writing to Penelope. In Season 2, he spends the entirety of it trying to be useful. And he does this with Penelope. He feels deeply for her, he cares so much for her, and he even says it to her aloud 'You are special to me' and 'I will always look after you' and how he could never give her up. Season 2 is a season of healing for Colin- he closes his chapter with Marina with a relationship post-mortum conversation after he does a wellness check to make sure she's alive (let's be real here, no one else was going to reach out to her. She made it clear to him that even her own father didn't want her), makes amends with Will, proves himself useful to Penelope, and departs on a high: he thinks he threaded the needle. He thinks he was successful sending Jack off, that he made Penelope happy, and that he's in with The Boys.

But whilst the person he is around Penelope is genuine, the person he is around these men are not. We know from Season 3 that they don't actually like him. They make snide, underhanded comments toward him, and laugh at him. I stand by the idea that end of season 2 is Fife and Co. laughing at Penelope AND laughing at Colin. They don't care about their friendship, they're teasing him for caring about her so openly, and Colin is protective of the relationship he has with Penelope. So he makes a comment for the boys, and puts on his mask. 'I would never court Penelope Featherington' (look, I'm just like you. I walk like you, talk like you, speak like you) 'Not in your wildest fantasies, Fife' (I am one of you one of you one of you- so why does it feel so hollow?)

He gets, now, his first taste of acceptance from them. They come to him to Mondrich's bar, he repays his slight against him, and he feels he is one of them. (Does he truly *want* to be one of them?) And so when we open Season 3, it's a smooth progression.

Colin is walking the walk and talking the talk, and yet his heart isn't in it. He's not one of these smarmy men, but he mimics them. Their behavior. In part, at least. Whilst Fife is out preying on 18 year old women in coat closets, Colin is telling gaggles of girls how pretty they are and how with such nice dresses, they're sure to find a husband. He makes it clear he's not an option, but that he doesn't mind being a fantasy. And Luke Newton does an amazing job making that clear: there are three sides of Colin. The Colin portrayed to his society in the light in good company (1) and the Colin portrayed to his society in the dark, in. . .less savory circles (aka: The Lads)(2), his 'armor' as his mum calls it. And finally, the most important but the one kept closest to the chest: the Colin of truth. The Colin who cries alone in his room after a breakup, the Colin who doesn't burden others with his feelings, the Colin who writes to Penelope, the Colin who loves deeply and feels deeply.

But his society has no use for a man like the real Colin, they do not *want* a man like real Colin, so he puts it under lock and key. And so much of this is centered around his feelings about sex, so here comes my 'Colin is Queer' soapbox. Colin does not experience sexual attraction like the rest of the men of the ton. He is expected to find it casual and be cavalier about it. To just want to fuck for the sake of fucking. But Colin needs love and romance and connection to actually enjoy sexual interactions. Nowadays, we recognize this as being on the asexual spectrum, of being demisexual, but he didn't have words for that in the time period he's in, so he has to forge ahead to figure himself out without a community identity to find solidarity with. That's what makes the brothel scenes so interesting as a narrative device: in the first, he's masking even in the midst of it, and in the second, he can't. After kissing Penelope, he finally, for the first time in his life, has a sexual interaction that means something to him.

It's the first one he truly enjoys, and the first one that feels right to him. It clicks for him that oh, that's what it's meant to be like. And the strain of that realization whilst still having to be what his society expects of him puts immense stress on his shoulders. You see how he grows more and more uncomfortable about the conversations, until finally he rejects it outright.

Even when it's very much not encouraged for him to do so. He's even told "You are much more fun this season." That's why he hides himself. From near everyone, even his family, even his brothers. It's telling how Anthony's positive interaction with Colin is when they're at the club, and Anthony praises him for his most recent attention. Have we seen much of Anthony being proud of Colin, otherwise? Not really. So he's reinforced in his persona. Doesn't boast of his travels because it didn't have anyone liking him for it, before. Doesn't even say how many cities he's gone to. Except with Penelope.

In the books, there's a line about their kiss, referencing how his world will never be the same. And it won't be. Because when Colin says that she helps him see the world in new ways, it's in a multitude of meanings.

Penelope refuses to let him wear the mask, because in truth, Penelope is the only one who doesn't like it. Not only does she see the real Colin, but she enjoys the real Colin. Whilst everyone else is simpering over Colin's new look and attitude, rejects who he is in reality, Penelope dismisses it, wants the person she knows him to be instead. It's only when he strips down the facades that Penelope allows him into her life again. And her Whistledown article was harsh, but it was also true. He *is* masking. He *is* putting on a persona and a role. But she was wrong when she asked if Colin even knows which is real: Colin knows very well which is real. And he also knows the realities of him haven't been accepted.

When Colin tells Penelope charm can be taught, he speaks from experience. When he says 'living for the expectations of others is a trap' it is because he has already fallen into it, and if he can't dig himself out, maybe he can keep her from it. Colin tells her 'you do not need lessons' and that she is fine exactly as she is, because just as she sees the real him and loves him, he sees the real her, and loves her, too. But they both live in the constraints of their society, and so they both put on the masquerade. Even sometimes to hide from each other.

The current climax of his arc is when he's out with the lads, after they all go off to the brothel again, and he disassociates from the experience. Playing cards and insisting on sharing sexual exploits, to which he does not want to take part, and makes a lighthearted dig at them. 'There is no gentleman at this table'. He includes himself in that, and then clarifies. He speaks aloud for the first time to them the truth of his heart- 'Do you not ever tire of the expectation to remain cavalier about the one thing in life that holds genuine meaning? Do you not find it lonely?' Can it really only just be him?

And it is. Or, maybe it isn't, but the rest of them aren't brave enough to admit it, so they're okay in making him feel like it is, in outcasting him for being a romantic, for caring about a woman beyond what she can provide for him sexually. Colin professes he doesn't like who he's become, doesn't like the expectations for him to behave the way he has, and they laugh at him. Again. He is made fun of, again.

He goes home and he falls in his bed and he feels like he lost it all. Lost Penelope to his own advice, and lost his newfound shine in his community. But when he's faced with which one matters more to him, he chooses Penelope. Unhesitatingly.

Colin chooses to be sensitive. He chooses to be a warm-hearted, gentle man in a society that prefers sexist machismo. Act one way in the light and another in the shadows. Colin wants to live authentically, as a man he doesn't really have a role model for. He is brave and he is tender, he sees the sexism of his society and he rejects it. He sees the importance Penelope has in his life, the way she makes him feel, and he embraces her wholeheartedly. He wants love and romance, he wants connection and meaning.

Colin, The Great Pretender, sick of pretending. Colin, walking into that ballroom and giving Fife the cut direct when he invites him out. Colin, cutting into a dance in the middle of a ball between Penelope and a man the entire city knows is about to propose. Colin staring deeply into her eyes with such unfiltered longing even *Cressida* can't help but notice what's going on. Colin running off after Penelope in full view of his society, outrunning a *carriage* to see her. Begging her to let him in. Colin on his knees, all but flaying his chest open for Penelope to see his heart. Colin made a choice when that candle flickered out, and his choice was Penelope. His choice was himself. And his choice was to flip off societal expectation and to live for love, damn the consequences.

I think our own world would be a better place if modern men took his example, too. Colin Bridgerton as male love lead in Bridgerton, a global show, is such a refreshing, wonderful example. A man who tried to be like what the world wanted, and who decided to go against the gender norms of his time. A man who prioritizes the woman he loves, who risks ridicule in doing so and comes to realize that he doesn't care. He doesn't care anymore about being one of the boys, one of the lads, one of the guys. Fuck his society if his society can't recognize the beauty of what he feels with Pen. He cares about being the best self he can be. And that best self is around Penelope, inspired by Penelope.

Because how he is with Penelope? God, I could swoon. At every turn, he prioritizes her comfort and personhood. He validates her, he sees her in beautiful, positive light and he helps her see herself that way, too. He encourages her to be brave because he already feels she is, he refuses to let her call herself stupid or a laughingstock, he apologizes without excuses, he checks in on her every step of the way. He's so passionate in that carriage, he's burning for her, he's yearning, but he doesn't do anything until she agrees for him to. He confesses his feelings and when she says they're friends, he backs off. He listens, he cares. He apologizes for overstepping her boundaries, and then when she gives him her consent, the only thing on his mind is showing how much he wants and appreciates her by providing her pleasure. Colin, the people pleaser, dedicated only to pleasing two people in that moment: Penelope, and himself. Because he wants to do that, to give her an orgasm that exists just for her. He's a witness to it, and that's pleasure for him, too. He waits for her nod of consent, he revels in seeing her enjoying herself. And the aftercare- I could cry.

Colin is a man who had every single reason not to be a kind, sensitive soul, and still he chose it. Chose to share it because the headline, even a wallflower can bloom, that's not just for Penelope.

It's for Colin, too.

[claraoswalds]

This is a brand new science for me, and I love it. The language of luck. 'Cause what is a coincidence but a form of accident? Two things bumping together unexpectedly. Like you and me.

[andrewknightley]

saw someone saying something like "do you really think veilguard story would be better if you could do evil choices?" and actually yeah. i think if they let us act more like the dreadwolf on the "you are a paralellism to the dreadwolf" game, it would be more significant when the story tells you "you are a bit like him/you are nothing like him" because , thats how you chosed to play it.

[radiance1]

Another link to this post. Meet the parents style.

So, Danny and Jason have been fake dating for a while now, and ended up marrying each other solely for tax benefits. Also, they got cool ass fucking friendship rings that they just couldn't not wear everywhere and being married is convenient so...

Anywho, so Jason has met Danny's parents but Danny hasn't met Jason's parents. Danny knows that he has some ties with the vigilantee scene due to being a Crime Lord-he still doesn't know what to think of his parents connecting the dots immediately when they only met him once while it took him more than that while living with the guy.

He thinks Jason may have been an ex-vigilantee at some point before turning to crime.

Then Danny gets blinded by rich people aura when he finds out that his bestfriend is the long thought dead child of Bruce Wayne. Frankly, he's insulted.

You mean to tell him that his could've been buying ice cream from that high class place all this time!? He shook (literally he grabbed and shook him) that point into Jason, he doesn't care that Jason never told him he was rich but he could've at least bought some high class ice cream once in a while.

Jason who was busy solidifying his power as a crime lord, avoiding his family and making sure not to leak his identity at all: I'm a literal crime lord, and the only thing you care about is me not buying you ice cream?

Danny: YES!!!!

Jason: Dork.

Right anyways, so Jason takes Danny along to meet Bruce and his fam but did say as soon as he started being uncomfortable they're leaving. The batfam is a bit blindsided by Danny, because they thought Jason was bringing his partner but its good to also get a feel for Danny's personality.

Danny and Jason did what's normal for them when Danny starts getting comfortable around the manor full of things that cost waaay more than his rent. Like half-heartedly insulting each other, being snarky, leaning on each other and other such things.

The batfam start thinking that there's more there than they know of. So they start watching a bit closer and ask a few round about questions that fly over Danny and Jason's heads. They just forget they're married often, unless it's regarding taxes.

All of this sends the wrong message when they walk into the same room and, being nosy, one of the batfam comes up to the door and uh. They hear the bed moving quite a lot.

So.

Meanwhile, Jason is trying to wrestle with Danny because this man does not pick a lane. He'll either be the human octopus (who is cold as hell) Jason has ever seen, he'll try to kick him off the bed in his sleep as if Jason personally offended him in some way, or he'll sleep in some wacky position that interrupts Jason's sleep. The last one is tied to the other two, however.

So, Jason has to frequently wrestle this man into a proper position where they both manage to get some sleep and it wouldn't have been so bad if Danny wasn't a goddamn sleep fighter. He would know, he had to nurse a bruised jaw for a few weeks.

Why do they sleep together? Listen, when you're in an apartment with not a lot of money, you gotta cut costs where you can alright?

[abrahamvanhelsings]

the terror (2018) requires a rewatch not only bc it is so good it will settle in the core of your brain and grow and spread there like a fungus until you die but also bc it is a show about a hundred something bearded victorian white men on a ship in the same clothes and by the time you start figuring out what name is attached to which guy half of them are already dead

[shortnotsweet]

This technically applies to my Stepmother AU in which Alicent is around six years older than Rhaenyra, and occupies a wicked stepmother role as opposed to ex ‘friends-to-first loves-to-enemies’. Despite lacking the foundation of shared girlhood, both find simultaneous comfort and rivalry in one another, and undergo a gravitational pull. A young Rhaenyra’s eagerness to participate in swordplay and political affairs at a young is accommodated for, and she grows up with a sword in one hand and the weight of experience in another, which further helps pave her way to the throne.

Alicent’s Costuming

Alicent’s clothing is almost entirely bottle, emerald, or forest green. While there is layering present in her skirts and jackets, the accent should always be a darker green than the base color. The fabric is deep, rich, and retains an undeniably high-quality luster. Look to velvets and silks. Gold embroidery lingers around her sleeves, neck, and hemline to elevate the coloring.

Metallic embellishments should be almost military-like, and appear heavy. Contribute to the imagery of chains or shackles in addition to her status

Draws inspiration from historically accurate stiffness and Victorian shapes, with a tapered waist, imposing, puffy sleeves, and a high neckline. Despite inaccuracies, this shape is evocative of someone elegantly and conservatively feminine, repressed, and capable of exerting power over others. Reference a classic, trussed hourglass shape. Skirts should be notably heavy and full; may make noise in movement

The coloring and shapes remain relatively consistent but lack variation; this is to demonstrate a lack of freedom and exploration, as well as an adherence to conventional feminine roles

Despite these limitations, her costuming should always be put-together, coordinated, and unquestionably fashionable. Tight sleeve cuffs may be accompanied by a more traditionally medieval fan sleeve

Shoes should stick mostly to slippers, or flat designs

In this AU, her hair leans more towards a dark brown instead of auburn, as her show counterpart. This is mostly due to faux-book accuracy and to simplify the sketch process, since keeping her hair darker in comparison to Rhaenyra’s lighter hair translates more easily in uncolored renderings.

Keep her hair either in a tidy bun or pulled back and loose; avoid too many intricate shapes, braids, or styles. Occasionally, the hair will hang loose. Lean into medieval or royal headpieces, clips, coverings, etc.

Rhaenyra’s Costuming

Rhaenyra’s clothes are primarily black and red, occasionally accented or substituted with neutrals such as beige, white, or gray. Exceptions may include blue or yellow, but she generally stays in this color palette.

Strong focus is drawn to her shoulders and neckline, sometimes with embroidered or embellished detailing. She often has strong, angular shoulders in her dresses or jackets, occasionally theatrically pointed. Off-the shoulder necklines emphasize her collarbones and a certain broadness.

There should be decent variety in her clothing; there is a hypothetical outfit for every occasion and more (for battle, for riding, everyday, formal, feasts, everyday, etc.), and most should be composed of multiple pieces and utilize generous layering. This includes under-fabric, belts and corsets, jackets and doublets, draped fabric for aesthetic purpose, and even functional capes.

Most of her clothes should provide visual aid for movement; additional fabric to her skirts, for example. Her clothes should be highly stylized but still easy to move in. In riding and battle gear, it is presumed that she wears pants and boots under her skirts, even if they are not visible.

Shoes lean more into boot cuts, still practical but should have a sleek and uniform quality to them. When she walks, she should make some kind of noise. Shoes should usually be black or potentially red, the latter for decorative purposes.

Overall her style should be more contemporary and lean into the fantasy element. She’s not opposed to oriental details or showing skin, and her costumes should reflect both couture-height drama and period-reliant aspects. Longer lines and diagonal hems mean she is not as devoted to an hourglass shape, and her high collars should always be decorative in some respect.

Keep her hair long and mostly loose, sometimes pulled back. Small braids should be implied as incorporated. Occasional hairstyles feature complicated braids. With the exception of highly decorative braided styles, simple buns should be avoided unless accompanied with very high necklines.

Avoid headpieces that are not either a) her crown or b) ceremonial.

[kacievvbbbb]

I love how extreme found family is in one piece. Like they took supernatural line of "Family don't end in blood" and actually made good on it. Because it's not just that the crew found each other even before that only really very briefly Robin, Usopp and Luffy could say that anyone biologically related to them raised them.

Like Luffy had Garp and that's his grandpa but he also had Makino and Shanks and the red hair pirates and they were a family unit and he also had Ace, Sabo Dandan and the bandits and they were a family as well and it's never who mattered more to Luffy or who actually raised him cause they all did. It'd be hard to put him in a nuclear family structure because so many people fill the same roles in his life in different ways and that's great like Kung Fu panda said "that doesn't mean less for one parent it just means more for Luffy"

And that's the thing I think sometime fandom can get very obsessive with trying to pin down who is whose surrogate father/mother how do they fit in the nuclear family structure and while that's fun and there's nothing wrong with head cannon characters that way I also think it's important to remember that not every relationship needs a title or definition sometimes you are just family and that's valid too.

Ace had Luffy and Garp but he also had the whitebeard pirates and his pops same with Sabo and the revolutionaries

Zoro with Kuina and his old kendo master, that was maybe more of a rivals, mentor mentee relationship than whatever Mihawk Zoro and Perona had going on but it's all family none the less.

Chopper with Hiririluk and Kureha. Perona and Moria, Usopp with the little village boys and Kaya. Shanks and Buggy with the Roger Pirates. They might not all have had defined roles with each other but it was still family.

Just like Sanji, Nami, Franky and Law and their more defined Surrogate familes

And people like Vivi Robin Usopp and Shirahoshi who had/have their biological parents/family that love them and raised them.

It's nobody that I've just mentioned properly fitting squarely into any of these categories because it's all complicated family is complicated and its messy and it's big and everyone in your family might not have even met but it's family and it doesn't end in blood and for some people it never started there either.