#sure I'll tag her why not

[monty-glasses-roxy]

how to scare the everloving shit out of roxy: make her play the horror game "canine"

Ohhhh had to look that up but it looks really interesting! Wish the launch trailer showed how the ball mechanic worked a bit better though

The story is apparently about saving your dog Tomy from a mutant dog so you can bet if Roxy started this game she'd feel she'd have to play it out for Tomy. She can't just LEAVE him!!! She COULDN'T!!!

Couldn't get a good look at this mutant dog either but given its overall body shape I'm guessing it's kinda werewolf-like. Honestly, it'd either scare her half to death, or she'd think this guy is cool as hell. Like a 'fellow doggo that could kill you' kind of thing. She's convinced she could kill if so desired for some reason lmao

The dead animal in the trailer and stuff like that would scare her, but I dunno a dog being the horror might just be cool to her. A weird kind of kinship despite the fact she'd crumble into dust if she hurt someone for reals. I haven't seen anything but the trailer so I dunno, maybe it does petrify her but she takes it personally that Tomy is trapped and she won't let it lie until she's beat the game. Nightmares for weeks won't put her off. She's nothing if not the most stubborn and determined dog to ever exist lmao

Pfft if the ball mechanic makes the big mutant dog chase it or something then Roxy can relate to that so hard. Sat there nodding to herself like "yeah I'd give up trying to murder someone for a ball too". She's got her priorities too, ya know?

That looks like a really cool game though ngl I'm really interested imma keep an eye on the horror game players I like so I can watch it they play it.

On another note, it's really not that hard to scare Roxy lmao horror films, horror games, haunted houses, literally anything like that can get her. She's not as freaked out by real life stuff though. She's seen enough real world horror to get by. Yeah, it's still terrifying when it's real but she feels a lot more in control in the real world, ya know? More choice of actions! Fictional scenarios like that scare her though. Freaks her out just that little bit more that some people find this fun.

At least Monty's just as scared as she is so they can pretend to be fine and internally freak out together lmao

[possamble]

I have always, ALWAYS been obsessed with Ryoko Kui deciding to invoke the Mona Lisa as Marcille's mother in the nightmare sequence. The fact that her expression is left blank, riffing of off the eternal "mystery" of the Mona Lisa's smile. It's such a succinct way of borrowing that enigma, that prestige, of effortlessly portraying a woman who is both unknowable as well as beloved and respected. What an incredible way to frame this memory of her mother, of showing without telling how Marcille feels about her.

So I'm incredibly torn on what the anime did with it. On one hand, Ryoko Kui refusing to draw an expression on any portrait of Marcille's mother in her memory is an exquisitely efficient choice in terms of showing more of Marcille's internal world, her feelings towards her mother, and what image of her mother it is that she hides behind...

But on the other hand?

Adding in the same mysterious smile as the Mona Lisa, then reversing it into an expression that's anything but mysterious? Peeling away the enigma like layers of rotten varnish? That is a sick way of further using the original reference. That's an incredible gut punch. Man.

[tekatonic]

huh, Princess Elise is looking a lil different today

[theforgottengreatpoem]

Alecto offered to help our quest if I gave you up to her. What did you say? I killed her sister. Medusa offered to help me save my mom if I turned in the two of you. What did you say? I cut off her head.

[autistickaitovocaloid]

collection of tiny guys

[wacky-nameless-inventor-24]

Pirate au Webby!

I'm not sure how I'll be able to pull all of this off or make it make sense, but right now my idea for her is she was a siren egg kidnapped by the crown, they intended to raise her as an adopted heir princess. Beakley then takes her from them as a baby, and finds a way to stage her death or something maybe?? so they don't come looking for her and they won't try to kidnap another egg. Maybe tries to make them think because she was taken from the ocean she was dehydrated and just like. died? I'm not sure. Anyway, Beakley then retires and quietly raises her in the kingdom, but as far from the shore as possible. Then they're just a normal average 1700s peasant family, nothing weird going on here I promiiiiiiiii

[lowrezbonuslevel]

baby's first portmanteau

Did I make this character, including a whole-ass backstory and B-plot, just because I thought the name was cute? Yes. Do I feel bad about it? ...Also yes. Sorry guys!!!

Most notably, she's Taranza's older sister. Check under the cut for her "lore," a comic, and tiny Taranza.

Tarantillda's family moved from Floralia to a city on another planet (arbitrary, but a good ways from Planet Popstar) when she and her brother were still quite young. When their parents passed unexpectedly a few years later, Tillda took on the role of caretaker for the remainder of Taranza's (and her own) childhood. It was difficult, but then, someone had to take "Anza" to his recitals.

Of course, Taranza would end up returning to Floralia. Though he had few childhood memories of the place, the quieter lifestyle and endless greenery felt something like home to him, and he spent more and more time there.

And, yes: when she visited him in Floralia, Tillda noticed right away that her little brother loved Sectonia for more than her tailoring ability. It was rather amusing to Tillda.

For a while, anyway.

The siblings started to drift apart. Sectonia became vacant and angry. Taranza and his sister didn't see each other for a very long time, and their long-distance communication dwindled to nothing.

Eventually, the new queen of Floralia completely prohibited visits from outsiders, leaving Tillda with no idea of her brother's status or safety.

Still, maybe they'll see each other again, someday.

[ying-doodles]

feeling vindicated because my friend who doesn't know tged agreed with me that the webtoon making lloyd and javier more straight makes the novel look more gay and that chp 402 was bullshxt lmao.

she was surprised they weren't gay despite the rainbow wings and stuff she saw in my art ahdjdjsk,, when I told her about (major novel spoilers ahead) javier crossing dimensions just to get lloyd back and how he said he missed him, she was like they should've kissed- XD

[seaweedstarshine]

Sometimes I think of Amy Pond, who grew up being called mad by those who wielded the word as a tool of exclusion and shame —

Amy Pond, who though forced into the hands of four psychiatrists, still clung to that which they called madness until those systems which elevate psychosocial conformity above humanity stripped it from her —

Amy Pond, whose imaginary friend reappeared for a single hour after twelve years and reignited that faith before disappearing for two more years —

Amy Pond, who spent those those two years under the same implicit threat ingrained in her through psychiatric violence, and thus began to believe the man who stopped the invasion was “just a madman with a box,” only for him to agree, and to also call her “mad, impossible Amy Pond,” reframing madness as non-negative for the first time in her life —

Amy Pond, who ignored the disembodied voice of her imaginary friend even as she ran away with him for real, who still lived each day with the traumatic internalization of deviancy dictated upon her by the psychiatric-industrial complex that shaped her from childhood —

Amy Pond, who wouldn't acknowledge the Doctor's voice, such that it took an Angel in her eye that was literally killing her to ensure she couldn't reality check herself —

Amy Pond, who stood before a room which muttered about “the psychiatrists we brought her to,” and though afraid, escaped their rigid parameters of acceptable existence.

[bungouchronicles]

wait Aya is so gonna try to do something to stop Fyodor right? She's a hero of justice after all and that demon just took her father away

[ananke-xiii]

Sailing from Byzantium or Parents shouldn’t outlive their Children.

    As you set out for Byzantium…

Okay so. I’ve been writing illegibly scribbling about resurrection in SPN for over a month now, so I think it’s finally time to talk about Jack’s (first) resurrection in “Byzantium”. Let’s goooo, I really hope it’ll make sense! As usual, it’s gonna be loooong, without images and with baaaaad paragraphing so just FYI. Here we gooooo.

I’ve described S13 Castiel’s forbidden resurrection (Chuck didn’t want him back, Billie couldn’t care less, no other entities were interested in him being back, like, at all) as a team effort: Dean, Jack, Cas and the Shadow all worked, consciously or not (but mostly not), to get Cas’ ass back on Earth. I’ve also compared it to the myth of Isis and Osiris because, to me, this specific resurrection has some very, veeeery strong romantic undertones to it. Of course, it bears repeating, it’s my interpretation that Cas got back because he was immensely loved and he loved hard in return. The show doesn’t outright say it, but it strongly implies it, and I’ve picked up on that vibe. However, his resurrection was possible in the first place because Jack willed it and he willed it because he missed his father. So another strong theme here is parental love and I loooooooove this stuff. Let me explain.

I’ve elsewhere said that Sam failed Jack the moment he didn’t tell him that he was missing Mary and he wanted her back. If he did, Jack would have latched onto that like I don’t know what, because he understands what it means to miss a mother. A similar thing applies to Dean, although he’s way more emotionally (and brutally) honest with Jack than Sam is. However, what Dean doesn’t outright say is that he blames Jack for Cas’ death (I’ve talked about I many times and I don’t want to repeat myself here, but basically I think that it’s not about Jack per se but about Cas’ choice to leave them and go away with Kelly. In other words, it’s complicated and I can’t always write the same things over and over again, lol, so sorry if I oversimplify sometimes). The moment he does, when he yells in Sam’s face while Jack is eavesdropping, an-already-attuned-to-his-moth-Dean Jack finally understands Dean because Dean’s pain, like Sam’s, is also his.

This is no moral judgement of the characters but an interpretation of the little tragedy that the first episodes of S13 are: three people, closed-off in themselves like monads, who are all grieving and don’t have the tools and/or the strength to really sort through their own emotions. A scene that stuck with me is when Jack is in front of his parents’ fucking pyre and he doesn’t know what to say. It’s a brief scene that tells a lot: Jack’s lost everything the moment he was born and, of course, he doesn’t know what to do with that. Because he’s just born. He’s left with…. The Big Empty. But this is also what Sam and Dean are feeling, in their own ways, so basically if they all knew how to communicate they would have found out that Jack was THE person who could have understood/helped them the most.

But, of course, if that happened, there wouldn’t be any tragedy in the first place so that was the whole point.

Back to Jack’s eavesdropping. I don’t think Jack picks up on the reason why Dean’s out of his mind over Cas’ death because he doesn’t have the same picture that we do. But what’s important is that he understands Dean’s pain because he also feels a similar pain but, of course, in his case he’s missing Castiel as his father. Just like the Quest for Mary isn’t solely due to Jack’s tendency to appease Sam and Dean, the Resurrection of Castiel happens because Jack is attuned to Dean, absolutely yes, but also because he wants it for himself. As in: Oh Dean’s not okay and one of the reasons why is Cas, but wait! I’m also not okay and one of the reasons why is Cas! Because I was supposed to have at least one parent looking out for me and he’s not here for me.

To sum it up: Cas’ resurrection is spurred by romantic love but it’s actualized because of filial love.

I’ve had to say all this because Jack’s resurrection in "Byzantium" follows the same path but in reverse: it’s about parental love but it’s actualized because of… (a-very-twisted-but-here-we-are, let’s-just-say-it-and-be-done-with-it) eroticism. Yes, ‘cause, sure, Chuck has his pervy thing for Dean but the Shadow surpasses even God when it comes to Castiel. Cas is “Of the Shadow”. Because it’s either that or I am the weirdo that instantly associates “I’ll come when you let the sun shine on your face” to la petite mort, the little death. Eros and Thanatos, the usual. I mean, it could be that I’m the weirdo. Let’s see!

If Dean, Jack, Cas and the Shadow were all needed to resurrect Cas, in Jack’s case…

Lily, Jack, Cas… and the Shadow again are needed.

(lol, when I write “and the Shadow” I have that song in my mind, the one that goes “and your friend Steve, tutututuruduuduuuu, Steeeveee, lol)

((also… Dean and Mother Figures… one day I’ll also have to expand on that))

(((also II… I’m super aware that Sam is a VITAL piece in both Cas’ and Jack’s stories and you can find a little bit about it here. I’m soooo sorry to do my little giant dude so dirty by erasing him, but if I add Sam to the picture as well this post becomes a behemoth or something and I can’t have it, I’ll make up to him I sweeeear)))

(((( I know it’s taking so long but we’re going to Byzantium which is pretty far away, be patient))))

All Aboard!

What is Byzantium exactly? Well, “Sailing to Byzantium” and its following “Byzantium” are two poems by W.B. Yeats which constitute the foundation of… “Byzantium” in S14. I’ll be focusing mainly on the first poem because I think it’ll be enough but the two are strongly connected and should be considered together rather than separate.

That is no country for old men. The young In one another’s arms, birds in the trees, —Those dying generations—at their song,

As we can see, one of the main themes in “Sailing to Byzantium” is old age vs “the young” and mortality (of the body) vs immortality (of the soul). These are the same themes of this episode which are translated for the show’s sake into the old theme of the “it’s not natural for parents to bury their children”.

In the bunker, after Jack’s death, Sam, Dean and Cas are lost and don’t know what to do:

[Cas, Dean, and Sam linger in the hallway outside Jack’s room] CAS: Maybe we should… start thinking about next steps. DEAN: Wake and a bonfire, Hunter style. It's what Jack would've wanted. [Sam says nothing, but storms off. Cas tries to stop him, but Dean stops Cas with a hand on his arm] CAS: Sam. [to Dean] Your brother's in pain. DEAN: Just let him be. If he needs his space, we're gonna give it to him.

They need to “bury” Jack and this triggers Sam into running away. Dean and Cas find him defeated in a forest: Sam wanted to gather woods for the pyre and made a whole mess out of it because he’s not okay and he feels like he hasn’t done enough. Like he has failed Jack. To that this is what Cas has to say:

CAS: This doesn't feel right. It's just not how I thought Jack's story would end. SAM: Yeah. None of us did. CAS: The certainty… of death, even for angels, it's always felt natural, but this doesn't. Jack being taken before his time. I mean, taken before me.

This scene establishes that Cas, maybe for the first time, understands relativity… deeply, into his own heart. Death is certain, it’s natural so how come Jack’s death doesn’t feel right, doesn’t feel… natural? Jack’s being taken before his (Jack’s) time is not unnatural by definition, it’s unnatural by Cas’ relative notion of Time: Jack’s time (before HIS time) is defined by Cas’ time (before ME) and Cas, like all parents, simply logically refuses the idea or even the possibility of seeing his child being taken away before him. It’s not a law of nature but it’s a law of humanity: no parents should ever see their children die. If that happens, it means that something went wrong, that it wasn’t right. That is no country for old men and no country for parents outliving their children.

In “Ouroboros” when Cas is confronted with the finality of death again, he’ll try his best to reassure Jack and make him understand how time works differently for “things like them” compared to humans. He’s trying to be brave in front of Jack but he’s not reaching him because he doesn’t believe in his own words. He betrays himself when he says that “when Dean wakes up -- and he will wake up -- we just have to remember to appreciate the time that we all have together now”. Even if he’s telling Jack that he must accept Death, he’s not accepting it himself. WHEN Dean wakes up AND HE WILL wake up. PERIOD. This is thinking coming from the heart rather than the mind. And it’s… truer? More vulnerable? Honest?...Human? Maybe the greatest tragedy of humanity is not that we don’t accept our death but that we can’t even conceive of the death of our loved ones. When Death arrives and takes everything from you but… you. And Cas cannot accept either Dean’s not Jack’s death. He simply can’t.

Together with Sam, Cas contacts Lily Sunders, the same woman that wants to kill him to avenge her daughter’s death. Lily, we’re tactlessly reminded by Dean in case we hadn’t noticed lol, is… old.

SAM: Dean, you remember Lily Sunder. DEAN: L-- You got old. LILY: Did I? An unfortunate side effect of giving up magic, I suppose.

She’s old and almost soulless but she can, perhaps, “pull off a miracle” or… a trade. “Resurrection and a cure” in exchange for getting into Heaven… to see her daughter, May.

Old age and the soul is another theme in “Sailing to Byzantium”:

An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence;

The body decays but the soul lives and claps its hands and sings! Despite the “mortal dress” the soul can still be magnificent. In the character of an old(er) Lily Sunders the episode conflates all of its themes: parents and children, soul and mortality.

Yep, because there’s a little caveat in this trade and that’s Jack’s soul. Jack’s first resurrection doesn’t come for free, it has a price that he himself has to pay.

Now this is the point where I have issues with the episode and the series as a whole because “Byzantium” poses an interesting moral dilemma: your life or your soul? Sam, Dean and Cas all have their own take on the matter and the episode explores them. But what about Jack? Since, you know, it's his life and his soul.

Well, unfortunately I don’t think he’s given much of a choice and I think it was unfair.

When in Byzantium…

Yeah, okay, but WHAT is Byzantium? Well, Byzantium is, of course, Heaven. Crumbling empire under siege. Christian stronghold, holy city. Yeah, that’s Heaven right now in s14. So this means that people/entities will have to sail to Byzantium, aka Heaven, in this episode. Conversely, since Heaven is a place for the dead and the Angels, some other people will sail from Byzantium and back to life.

Heaven-Byzantium, however, has a little bit of a problem in the form of the Shadow storming its gates to take Jack’s… soul? The ghost of his Grace? His essence as Nephilim? I mean, I don’t know exactly what the Shadow wants because Jack belongs to two realms at the same time so I guess it wants its half. What I know is that it wants him in some capacity. Although, to be fair, for a cosmic entity that wants to sleep forever, going to great lengths to take one “soul” or whatever seems… weird? I don’t know, what I’m trying to covertly say is that, I think, the show has never really explored the Shadow/Empty and I think it was a shame. It wants to sleep forever but it storms Heaven’s gates for Jack, it wants Cas to suffer BUT it wants him to be happy AND it also wants to stay awake to come to Cas when he’s happy… The Shadow is confused, lol. Or, maybe, in love?? (Okay, now I’m joking but you must admit that the Shadow wants a lot of things. *In Lucille Bluth’s voice*: Good for her!).

Jack’s in Kelly’s heaven but they don't share much screen-time together. As a matter of fact, Jack’s not given much choice to begin with. The “life or soul” dilemma is left unexplored because the plot takes precedence: it’s 46,750,000,000 human souls vs Jack’s soul now. I like that, at first, Cas downright says no to Naomi when she tells him that he must help her stop the Shadow by handig over Jack. But then, when he finds Jack, he seems to change his mind a little:

CAS: Sam and Dean and I-- we found a way to bring you home. JACK: So, I'll be alive again? CAS: Yeah. But to do so, we-- we need to use magic that will draw on your soul. JACK: W-What do you mean, my soul? CAS: It'll be just a small piece. And I know it's too much to ask, but it's the only way. KELLY: No. I-I don't know. CAS: It's not just Jack's life that's at stake. It-- The Empty has invaded Heaven because it wants you.

Kelly going "No" and then "I don't know"... I love her so much, Queen of Messes.

Although Cas told Dean that Jack should have a say in the matter, he eventually decides for Jack and asks “too much” of him. Again, I want to say that this is a judgement-free zone, if I had the possibility to resurrect my dead child I would burn cities and commit genocides, ngl. This kind of prevarication, a prevarication out of love, is something that I can see fit in this episode because it relates to its foundational themes. What I don’t like and think takes something away from Jack is the “It’s not just Jack’s life that’s at stake”. Mmmm it doesn’t sit well with me. Fuck Heaven, fuck cosmic balance and fuck the Empty: if the cosmos can't do its work properly it's not my problem. Overriding personal dilemmas with imminent apocalypse-level threat is something that cannot be overused every other episode or it'll get boring. The stakes cannot always be so high, I need to see characters make their own choices and Dabb era takes this away from me! *Clenched fist raised to the sky for emphasis*.

Since Anubis has been literally summoned in this episode (the Egyptian myths, man... I've been saying... I've been saying) I think I can safely say that on his scale Jack’s soul weighed less than all those billions of souls. In other words, the Greater Good prevails. But what about Jack? Leaving aside whether I like it or not, he still doesn’t get a vote because the whole point is that the Shadow wants what it wants and it wants Jack. So Cas has to interfere and cuts a deal with it. And then we totally forget about Jack’s choice. It’s a given now because it’s the billions of souls and, ON TOP OF THAT, his father’s sacrifice. Even before becoming God Jack was asked to take on his shoulders such impossible burdens and… I don’t know, I actually feel very sorry for him.

So “Byzantium Delivered” by our very Castiel and him and Jack are ready to sail away. For one people leaving, one must arrive. Cas wasn’t the only one who made the sacrifice: Lily pays with her life and we know that her sacrifice is selfless because she manages to enter Heaven’s Gate. As Dean puts it, she couldn’t let anyone go through what she did: outlive their children. There’s a part of me that’s sad that she paid the price and died but another one is happy because now I can speak about something that I adore: parents saving their children.

Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come.

Here Yeats is saying that once he’ll be “out of nature”, aka dead, he’ll never take another bodily form but he’ll become a work of art made of “hammered gold and gold enameling” that will set upon a “golden bough” to sing the past, the present and the future.

I have to tip my hat to Meredith Glynn here because this was awesome. As I’ve said she has used Yeats' poem to talk about parents going to other dimensions and making sacrifices for their children. This is the meaning of the “Golden Bough”.

The “golden bough” refers to an episode in the Aeneid where Aeneas goes into the underworld to meet the shade of his deceased father Anchises. In order to do so this, he must give a gift to Proserpina, the Queen of the Underworld and the gift is the golden bough itself.

I said this was awesome because Aeneas is the son that goes to another dimension to meet his father but in “Byzantium” it's a father and a mother who go to Heaven for their children!!! Which first of all, I think it’s BEAUTIFUL, second of all we have, AGAIN!, a reversal of myths at play here!!!

When I say that Castiel and Jack are exploding myths from the inside I’m not saying it because I’m crazy but that’s because this is what the show was telling me up until a certain point!

If you scratch and scratch and scratch, “Byzantium” is a retelling of the myth of Demeter and Proserpina, the mother going to the underworld to save her daughter (it's waaaay more than this but bear with me or this post'll never end). I mean, isn’t that awesome??? I fucking love it!

I swear I could go on and on (and I will!It's a threat!) but I think it’s high time we left Byzantium…

Goodbye stranger, it's been nice!

I hope I’ve made clear how Jack’s resurrection involved Lily, Cas and Jack himself (although he didn’t have much choice in the matter and that’s regrettable). I have to talk about the Shadow before I let you go of the insanity that is this post. So let’s end it with more insanity, shall we?

O sages standing in God's holy fire As in the gold mosaic of a wall, Come from the holy fire, perne in a gyre, And be the singing-masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity.

Now this is where my weirdness potentially shows: here Yeats is talking about his desire to meet the “sages standing in God’s holy fire… and be the singing-masters of [his]soul”. He wants his heart to be consumed and freed from the chains of the material body (“dying animal”) and be gathered “into the artifice of eternity”. Now Yeats, to me, is talking about a sort of transcendental and mystical experiences which, as we all know, have very clear sexual undertones. And, I don’t know, I guess I see these (much darker) undertones in this episodes too? The Shadown is the master of Cas’ “soul”, it owns him, to it “years and eons” (the time of the heart for Cas) are nothing. Now or a billion years from now means nothing to something like the Empty. It wants to take Cas when he’s outside of time, in the moment of “happiness” which is the moment when things “happen” (“the artifice of eternity”), which, in turn, is a moment outside of the deterministic world of SPN.

It’s just like when, in “The Big Empty”, the Shadow tries to seduce Cas and persuade him to go back to sleep because, out there, there's nobody who loves him but here with it? There’ll be peace. Only, this time, the Shadow is pretty pissed and it’s like: I don’t want you now because you don’t want me so I want you to suffer now. Go back, live your life, one year, one thousand, it means NOTHING to me. You’re already mine. No, I want to own you to the point that I’ll come to take you the moment you will be happy, when you’ll be outside of time, I’ll come then and take you away with me. Because you’re mine in time and outside of it. Beyond eternity.

I mean, this is perverse and insane but also very erotic :D And, to be honest, it kinda makes sense because the energy of the “Eros” (not sex, "eros" in the psychoanalytical sense) must be involved in a process so delicate as the resurrection. One needs to want life to go back and make people go back to life, you know? And since we’re talking about resurrecting souls, Psyche if you will, you sort of have to have Eros? The two go together.

So to really sum it up this time: Jack’s first resurrection was another team effort. It required a lot of love as usual and this time it was the parental love for their children that pierced the veil and saved the day. But it also needed a bit of erotic sparkle to ignite it, the final, unseen ingredient of the spell. The Shadow provides this sparkle in a capricious way just like only very ancient cosmic entities can do. However, the price that they’ve all paid is very, very high: Lily’s life, Cas’ happiness and Jack’s soul. It’s a bittersweet victory that announces catastrophe.

Okay, I can’t believe I’ve made it but I’ve made it. If you’ve been with me until the end,  I thank you and hug you <3. I hope you enjoyed it!

[shannonsketches]

lays on the floor do you guys ever think about how in ResF Bulma falls for Vegeta's fake-out with Freeza and both she and Yamcha are worried about Vegeta's villain fake-out strategy in Champa and Beerus' mini tournament and how it's only been a couple of years since the Buu saga and how Vegeta straight up stopped using that strategy after that tournament

[posletsvet]

combat baby, come back baby 🥀

[tanicus-caesareth]

guarana drama, damage control

[sunshades]

One thing about canto VI is like. I see so many people predicting it'll be about Fighting Evil Wife or Breaking Codependent Toxic Relationship and I just kinda think that would suck? If the major theme isn't grief AND love and the way both are seen as like Kinda Weird/inappropriate in the setting of the city. Then I'll be very sad.

[dekheinjee]

I love how I've just started Naruto Shippuden yet my blog here is filled with tobirama, madara, and hashirama reblogs 😭 I haven't even seen their story yet and I'm still obsessed