#show them and never even NAME them.

[mdemn]

ok tommy “family is forever” angelo— what’s your daughter’s name and when was your son born? 🤨 🎤

[copia]

THIRTY-ONE DAYS OF GHOST ⛧ DAY ONE

first song you heard — Mary On A Cross

September 1969; Papa Nihil and the beginning of the Ghost Project take to the stage at the Whiskey a Go Go club in Los Angeles, under the watchful eye of Sister Imperator. Fifty-three years later, in Tampa, Florida, Papa Emeritus the Fourth performs Mary On A Cross, unaware that he is singing the story of his parents—and that of himself.

[kindlespark]

in shock hearing people say that babel only takes a turn and becomes heart-wrenching at the end because that experience is so incomprehensible to my chinese diaspora ass that felt like their heart was being torn from their chest in the very first chapter likeeeee babel is underscored by such immense amounts of tragedy and loss and horror around colonialism and imperialism from the very beginning it's so crazy that white people can just read the first half of babel and not feel like every bone in their body was being dissolved in acid by the centuries of unspoken grief written in robin's experience SORRYYYYYYYY. average poc reading babel vs average white person reading babel truly LMFAOOOO

[phoenixcatch7]

It's always funny to me when in an lu fic the chain is offered bananas and don't accept them. Like, you're offering these high energy adventures free food?? Fruit they'll have never even heard of before??? A ridiculously expensive imported good at best?? AND it boosts your attack?

Not ONE of these idiots would ever turn down something new and interesting to eat at least once. They'd be all over those bananas and immediately get dubbed yiga and I'm honestly surprised no one has used it in a fic yet 🤭

[arthursfuckinghat]

"I was gonna say you're like a son to me.. but you're more than that."

"It ain't that complicated!"

How quickly that shoulder pat of comfort turned into a condescending one.

[thereareeyesinsidethetrees]

stan: how can you be polyamorous and aroace, or…whatever mabel called it?

ford: in my case, i have my family and i have my platonic polycule. i would prefer to never have to interact with anyone outside these two groups

stan: what about soos and wendy? they’re not in either of those groups

ford: first of all, i am soos’ uncle, second of all, are you saying you don’t believe i would both die and kill for wendy?

stan: you’ve got a weird way of defining family, six

ford: it’s my favorite way

[icewindandboringhorror]

A little costume with eyebrow whiskers again.. making their return lol..

[skrunksthatwunk]

actually i'm still thinking about the moral orel finale.

he has a cross on his wall. do you know how much i think about that bc it's a lot.

a lot of stories ((auto)biographical or fictional) centering escape from abusive/fundamentalist christianity result in the lead characters leaving behind christianity entirely. and that makes complete sense! people often grow disillusioned with the associated systems and beliefs, and when it was something used to hurt them or something so inseparable from their abuse that they can't engage with it without hurting, it makes total sense that they would disengage entirely. and sometimes they just figure out that they don't really believe in god/a christian god/etc. a healthy deconstruction process can sometimes look like becoming an atheist or converting to another religion. it's all case by case. (note: i'm sure this happens with other religions as well, i'm just most familiar with christian versions of this phenomenon).

but in orel's case, his faith was one of the few things that actually brought him comfort and joy. he loved god, y'know? genuinely. and he felt loved by god and supported by him when he had no one else. and the abuses he faced were in how the people in his life twisted religion to control others, to run away from themselves, to shield them from others, etc. and often, orel's conflicts with how they acted out christianity come as a direct result of his purer understanding of god/jesus/whatever ("aren't we supposed to be like this/do that?" met with an adult's excuse for their own behavior or the fastest way they could think of to get orel to leave them alone (i.e. orel saying i thought we weren't supposed to lie? and clay saying uhhh it doesn't count if you're lying to yourself)). the little guy played catch with god instead of his dad, like.. his faith was real, and his love was real. and i think it's a good choice to have orel maintain something that was so important to him and such a grounding, comforting force in the midst of. All That Stuff Moralton Was Up To/Put Him Through. being all about jesus was not the problem, in orel's case.

and i know i'm mostly assuming that orel ended up in a healthier, less rigid version of christianity, but i feel like that's something that was hinted at a lot through the series, that that's the direction he'd go. when he meditates during the prayer bee and accepts stephanie's different way to communicate, incorporating elements of buddhism into his faith; when he has his I AM A CHURCH breakdown (removing himself from the institution and realizing he can be like,, the center of his own faith? taking a more individualistic approach? but Truly Going Through It at the same time), his acceptance (...sometimes) of those who are different from him and condemned by the adults of moralton (stephanie (lesbian icon stephanie my beloved), christina (who's like. just a slightly different form of fundie protestant from him), dr chosenberg (the jewish doctor from otherton in holy visage)). his track record on this isn't perfect, but it gets better as orel starts maturing and picking up on what an absolute shitfest moralton is. it's all ways of questioning the things he's been taught, and it makes sense that it would lead to a bigger questioning as he puts those pieces together more. anyway i think part of his growth is weeding out all the lost commandments of his upbringing and focusing on what faith means to him, and what he thinks it should mean. how he wants to see the world and how he wants to treat people and what he thinks is okay and right, and looking to religion for guidance in that, not as like. a way to justify hurting those he's afraid or resentful of, as his role models did.

he's coming to his own conclusions rather than obediently, unquestioningly taking in what others say. but he's still listening to pick out the parts that make sense to him. (edit/note: and it's his compassion and his faith that are the primary motivations for this questioning and revisal process, both of individual cases and, eventually, the final boss that is christianity.) it makes perfect sense as the conclusion to his character arc and it fits the overall approach of the show far better. it's good is what i'm saying.

and i think it's important to show that kind of ending, because that's a pretty common and equally valid result of deconstruction. and i think it cements the show's treatment of christianity as something that's often (and maybe even easily) exploited, but not something inherently bad. something that can be very positive, even. guys he even has a dog he's not afraid of loving anymore. he's not afraid of loving anyone more than jesus and i don't think it's because he loves this dog less than bartholomew (though he was probably far more desperate for healthy affection and companionship when he was younger). i think it's because he figures god would want him to love that dog. he's choosing to believe that god would want him to love and to be happy and to be kind. he's not afraid of loving in the wrong way do you know how cool that is he's taking back control he's taking back something he loves from his abusers im so normal

[millenari]

Funniest thing about the original Broadway version of M&R (the one that Misto sings with the trash puppets) is how Tugger introduces him so dramatically in the beginning. Bc when it comes to bringing Deut back during Misto's number, that's obviously important and Tugger would obviously be invested in doing whatever's necessary to save him (including hyping Misto up), but M&R is just a silly little song.

Like, Misto comes on stage with his two little puppets made of garbage and a catchy lil ditty about them doing shenanigans and Tugger has to cut in front of him and basically go 'MISTO IS PERFORMING SO EVERYBODY SIT DOWN AND START FUCKING CLAPPING OR ILL BLOW THIS WHOLE PLACE UP'

[watcherintheweyr]

desperately need people to understand that alicent is a victim but she’s also an abuser and a perpetrator

that she actively makes choices to harm other women because of jealousy and envy and the greed deep in her bones because submitting to suffering didn’t get her what those women fight to grasp for themselves.

she is absolutely a victim, in show.

that doesn’t change that she abused rhaenyra and her children, her own son, most likely helaena given how she flinches every time her mother touches her, and is actively weaponizing the patriarchy of westeros against other women- rhaenyra primarily, but also mysaria and dyana.

she isn’t the moral, righteous force of good that even she thinks she is, she’s a wounded woman directing all of the rot, pain, and fury inside her at the wrong people and forces.

[b4kuch1n]

yay! I drew these quite literally three years ago. dragonheart!milo and raihan! a knight on a doomed dragon hunt being lifted out of his station by a small village medicine man. together they become magic lawyers and overthrow the government

the main details in these do survive into the iterations I’ve drawn (instead of these actual designs I spent time to make el oh el): the “leaf” diamond quilt/gambeson and the plaited coattail for milo, the “atypical” weapons, long coat, and large number of scattered fake gold trims and accessories for raihan. I think I lost raihan the hat and added a cape for milo further down the line because like this their general silhouettes are too similar for my liking lol

[emioliravioli]

umm rate the birthday invitation i guess???? my mom really wanted me to draw something, so i just.... did this lol

[winepresswrath]

Darla/Angelus is also great because the show has a competing designated OTP and they exist to serve as contrast and hateful competition to THE ship. they are soulless monsters even by the standards of soulless monsters, they literally make the other soulless monsters go "yikes... your relationship seems not good maybe." but they love each other so fucking much. the writers can't help it. they are constantly trying to find their way back to each other. the way she hits him over a head with a shovel and leaves him to an angry mob while he tries to say he doesn't mind dying if it's with her AND the way they coo about it to each other afterwards. the way she takes him back against her better judgement because she missed him so so much but then kicks him out again later because he still can't be who she needs him to be. that's just how they say i love you.

[sneaky-eel]

Sense Ubisoft decided to give us jack shit on Desmond's mother I wanted to do my own little head-canon of her.

Desmond's mother is a cold, no-nonsense woman. A prodigy in her own right who was probably one of the options for the next mentor, but preferred field work. Her acts of love are through services and what is a better service to those she loves then ridding the world of templars. The longest she probably went without being out in the field was when Desmond was born and it isn't till he is 5 or 6 that she goes back out. Now she is working twice as hard. Not just for her fellow assassins, but now she has a son. A son who will be forced to do this same exact thing if she doesn't do something.

So she is around less and less. One day here, two days there. And maybe she thinks she is doing her family a favor. She deludes herself into thinking this will push Bill and Desmond closer together. Desmond will love Bill more because he is there and she is not. But it has the opposite effect. As he gets older Desmond starts to resent Bill. He can never be good enough. Never strong enough or fast enough. He is subjected to a constant stream of belittlement from his father. Bill works all the time and Desmond hates that he is forced to have dinners at an empty table all alone while Bill is in his office. So close but still too far.

But his mother? Oh his mother is his hero because all this time he has been building in his head the idea of what his mother is. An ideal mother. "Yeah she isn't here cause she is keeping us safe. Everyone says how great she is. The best of the best." He tells himself. Then as he gets older he starts to compare Bill to this idea of his mother. "If mom was here she'd be able to explain this better to me. She is really smart.", "When mom gets back I'm sure she can help me with this move. She's the best.", "Once mom gets here we can have dinner like a family, maybe we can cook together." on and on.

Finally, at 16, his mother is home for the first time for a longer than a day. Two whole weeks in fact. And he is so excited only for that reunion to be awkward and kind of cold. He doesn't get those meals together like he hoped. Training with her is worse than his father. With Bill he had learned when the man is actually paying attention and where, which allowed Desmond to slack in other areas, but with his mother she is always watching. She nitpicks every movement and doesn't seem to understand why he can't get something on the first try. She pushes Desmond well past exhaustion and makes him train even past that. Desmond's carefully crafted view of his mother is destroyed in just a few days leaving him empty and convinced that neither of his parents actually love him.

From Desmond's mother's point of view the reunion is "cold" because she doesn't know what to say to her son. She has been gone for so much of his life and the only things she really knows about him are through Bill. She knows he has potential, but he is "disinterested" and "never takes anything seriously" so in training she pushes him. She has been a field agent this whole time. She knows that a single misstep can mean death and Desmond is already 16. In a few more years they will send him on his first mission and she will be damned if she lets him die. Those missed meals together? She is with Bill in his office helping with his work and on occasion they will sit there with a bottle of scotch between them, talking about life before. Before he had to be mentor, when they had at least a little time to themselves. A little time for each other. She doesn't see what she is doing to Desmond.

When it's time for her to leave again she doesn't question Desmond's lack of smile or how he says he is going to go "train", she only thinks 'Good. He is going to start taking things more seriously.' She doesn't think anything is wrong when she gets off the plane and she drives to the safe-house. She doesn't know that Desmond has snuck out. Ran away from the home he believes never even cared about him. Nothing is wrong until Bill calls her and says the three words the shatters her world.

"Desmond is gone."

[saccharineomens]

You know, watching the anime made me realize something, so I went looking.

We (manga readers, anime-onlies beware spoilers later on) already know Senshi’s tragic backstory and that the reason why he stays in the dungeon is to take care of it.

Early on in the manga, Senshi behaved with a complete disregard to Chilchuck’s orders to keep them safe. It’s possible Senshi behaved this way because he didn’t respect Chilchuck’s skills, or he thought that none of the traps would be able to harm him (due to being a dwarf). When he offered up his life to the orcs (before his vegetables, even), maybe he was simply trusting that Zon wasn’t actually going to kill them (despite them brutally murdering an entire pub in front of their eyes). But what if he simply…doesn’t care whether he lives or dies?

Senshi shows no interest in returning to society, preferring to keep to himself. He lives only for tending to the dungeon and cooking his next meal. He behaves recklessly with his own safety, and he hasn’t moved on from the trauma he experienced almost eighty years prior. He also believes that resurrection is unnatural, and accepts his own death with relative ease.

I think his survivor’s guilt left him passively suicidal, just waiting for his inevitable death to come to him, and holds fiercely onto Gillin’s final wishes that Senshi lives on as a reason to not seek it out.

[quirkle2]

he's such a fuckin nerd