#sincerely scared

[childofsardior]

Dystopian Future?

I’m seriously concerned about the new OGL leak.

[hauntedwoman]

i hate this fucking "i'm just a girl" brand of feminism bc it is so easy for young women in their 20s who are afraid of big changes and personal growth to revert to depending on their gender and the associated fragility of it so that they can make it through life when really they're just trapping themselves in a position where they cannot and will not grow out of that fear.

[teaboot]

tranny freak :)

[harrowedsoup]

99% of the time I HATE when people have characters pet names because it’s so easy to get out of character with them but Harrowhark would absolutely call Gideon Beloved. She would call her a horrible cuckoo one moment and beloved the next. She’s calling Gideon a brainless dumbass two sentences before casually calling her the loveliest flower of her house.

[moeblob]

Look, I rewatched all of Bravern to try and make more sense of it now that I know plot twists and stuff and honestly how does Lewis never ask anything about the cockpit that he was in for four seconds. I think he should mention it. I think he's allowed to talk about it.

[monostardust]

*sighs* Silco, Silco he's, he was a good father to Jinx yeah I mean sure not perfect but he did everything he could to raise and stabilize Jinx's fragile and chaotic mental stability the way he knew how. Silco sees himself in Jinx but he knows she's far more troubled than him. He tries to help her overcome her trauma the only way he knows how by telling her how he overcame his. He's not perfect he's most definitely not the ideal father but for a villain I gotta give credit where it's due. Unlike other villains he actually loved and cared for Jinx. She's his baby, the only one he has a soft spot for. He really loved that little girl, his daughter, the one he trusted the most, his only successor. I also think he was similar to Jinx with how he despised Vi like how Jinx despised Caitlyn. Silco hated Vi thinking she's just like Vander, a traitor, someone who abandoned Jinx. I guess that's why he wanted her dead. In his mind he really thinks Vi is nothing more than that, that she's just someone who'll continue to hurt his kid and that's why she gotta go.

[hugduckhesgay]

[alucardsathomewife]

You know what?

I like ya

*turns Alastor into Alucard*

[nabaath-areng]

Orbital trajectory.

[francesderwent]

I’ve been on a real Fearless kick lately and it always makes me feel some kinda way about Olivia Rodrigo’s body of work. and not even primarily about her and her talent and her songwriting, just about how different an experience it seems to be growing up as a young millennial woman versus growing up as a young gen z woman. take the total absence of any jealousy/self-image song on Taylor’s debut album or Fearless—because social media wasn’t this omnipresent perfect image factory and so the insecurity of growing up looked more like “Place In This World” or “The Outside”, fundamental experiences of questioning and longing that are deeply connected to our humanity, as opposed to “jealousy jealousy”, “pretty isn’t pretty”, or “lacy” which are founded on an obsession spiral that is literally only possible on that level because of the invention of the smartphone.

look at “Tell Me Why” or “Other Side of the Door” as opposed to “vampire” or “logical”—Taylor’s approach was a very straightforward “you acted this way and this is how it made me feel." it wasn’t until later that she started to make statements about patterns of behavior, because she simply couldn’t see them except in hindsight! she couldn’t say “this is what kind of man you are” or “this is what sort of relationship we had” until she had fully processed what happened—which is when we get songs like “Fifteen” and “Would’ve Could’ve Should’ve” and “The Manuscript”. but because the younger generation breathes the air of pop psychology buzzwords, Olivia is diagnosing her exes and labeling her relationships right away. and you might say this is a good thing, that young women are armed with terms like “gaslighting” and taught to be suspicious of age gaps because of the power differential. but having the knowledge doesn’t seem to have protected Olivia at all. she still makes all the same mistakes, there’s literally a whole song all about knowing something is a bad idea and doing it anyway. she still dates the older guy, but then she has so many labels readymade to explain why it didn’t feel good that she doesn’t ever actually get down to saying how it felt—because I don’t think she knows. the younger generation acts like processing an experience means figuring out what tiktokified sound bite applies to it and then slapping the label on and moving forward. “my parents were emotionally abusive” “my ex was a narcissist” “my ex best friend gaslit me” etc. but it seems to me that’s skipping some necessary stages of actually processing your shit. “vampire” is Olivia trying to write “Would’ve Could’ve Should’ve” before she’s ever written (or felt) “Tell Me Why”. it’s the difference between “here’s to you and your temper, yes I remember what you said last night / and I know that you see what you’re doing to me, tell me why” on the one hand and “went for me and not her ‘cause girls your age know better” or “master manipulator, you’re so good at what you do” or “you convinced me it was all in my mind” on the other hand.

and another side effect of this, the big names in this younger generation of artists aren’t really writing love songs, and I don’t think that’s accidental. they literally do not have the vocabulary to do so. the psychology buzzwords that go around are all about toxic relationships and red flags. and so, deprived of a way of thinking about being in love, the love songs either fall flat (“I’ll go anywhere he goes and he says I’m so American”) or they simply don’t exist. the open-hearted sincerity of a “Hey Stephen” or “Jump Then Fall” is nowhere to be found.

[hauntingyourself]

My sister and I were going for a drive around the lake last night and it was empty aside from this one guy dancing right underneath a streetlamp, and for a second he looked like the serbian dancing lady and we both almost lost it

[the-awful-falafel]

tfw it's going to be even harder for me to write/draw spooky fake peppino moments after this update comedically defanged him for a scene, even though:

1) it's a movie Noise wrote / directed / paid off the bosses for, and FP being scared off by yelling could easily be tied to that context (either because he was indeed treating it like a game and therefore was less persistent / more easily startled, or because he was asked to be more of a wimp, or both)

2) it's implied to take place a decent while postgame since Pizzahead and Vigilante are in the same room together and Vigi isn't trying to apprehend him like the credits implied he was going to do, so FP could have just mellowed out more in that time and/or Noise also could have gotten used to him. like FP seems pretty relaxed and just a little confused in the ending scene too, he's chill

there's a lot of ways you can interpret this shitposty joke moment so I'm a little bothered the immediate go-to for most of the fanbase is "fake peppino is a sweet baby who was never creepy". I personally read it as FP nervously retreating like "why are you yelling at me I did as you asked :/"

[bolszaja-miedwedica]

don't know who needs to hear this but!

your gods don't care about your age regression!!!

they love you! they love tiny you! they love the whole you!

so be safe out there kiddos and remember you are loved

[handweavers]

as a little kid i really expected people burning down their whole house and dying just trying to make a salad to be a more common real life occurrence based on how often it happened to me in the sims

[struck-by-the-rain]

*slaps roof of au where all the characters who didn't make it to megamix got killed off* this bad boy can fit so much doomed yaoi in it!

based on @rhytmrocket's au thingy,, these doodles r assuming that characters disappear gradually (joe thinks as a martial artist he can stop sk from being next) and also the chars all leave objects behind (e.g., a football)

[babacontainsmultitudes]

ANTHONY BURCH. WE CAN'T COEXIST.