#that's the point i'm trying to make here

[greed7-13]

Oh to hold and be held, feeling another's embrace against me as we sleep, the sounds of the night filling the quiet void as we lay in the dark. The soft breaths mixed with the slight movements of the chest, expanding and contracting against each other like blinkers on a pair of cars. The soft brush and itch of hair against the nose and the gentle restless legs that want to be tangled into one another while simultaniously wishing to find some form of comfort.

I miss those days. I hope someday soon, I find my nightly puzzle piece and we fit each other perfectly for eternity.

[l4tchk3y]

I love Espio so much. I wish chameleons were real.

[nonasbirthday]

it is PLOT-RELEVANT that House society has stagnated for ten thousand years!! it's not just that muir picked a giant number and forgot to account for the ways society would change in that massive span of time. there's a POINT there about how founding your entire culture on death means that the only innovation happening is around how to necromance better. and even then the whole society still tries to emulate a past they don't know or understand. you could blame Jod for repressing progress but honestly I think the point stands just as well if Jod isn't directly doing anything to stifle growth aside from FOUNDING A DEATH CULT. they still have MUMPS for god's sake

[poorly-drawn-mdzs]

Something Borrowed, Something Blue.

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[collophora]

Do yourself a favor and go read the entire fanfic work of @fanfoolishness

(In order: Under sun and shade, Blind Side, and Breathless (patching up is one of my fav too, I just had no cool sketch idea for it)

[curseofdelos]

mentally I'm still here:

Nico insisting that neither of them are going to be sacrificed/left behind to satisfy the prophecy is a perfect encapsulation of his growth over the series and it makes me SO soft to think about

Nico as a character - particularly in BoO - doesn't have a lot of self-preservation. He doesn't really care what happens to him as long as the mission gets done. We see this most explicitly after he almost fades into nothingness after the Bryce Lawrence incident:

And again when he considers shadow travelling into Octavian's tent to assassinate him:

(Nico himself notes here that it was unlikely he would survive another jump. If Will hadn't stopped him, he probably would have died.)

In both cases, Nico was willing to risk death for the sake of ending the war. He puts very little value on his own life, and repeatedly argues to Reyna, Hedge, and Will that the possibility of saving camp (a place he never felt welcome at, might I add) is worth the risk of losing his life.

Even before Nico went on the quest with Reyna and Hedge, the others were concerned about his safety. Percy tried to remind him how unpredictable his shadow travelling could be, and Hazel notes that he has been acting strangely lately:

It's not quite clear what Hazel is worried about here, but my interpretation of this scene is that she's concerned that Nico isn't thinking - or perhaps, isn't caring - about what effect the constant shadow travelling will have on his wellbeing. Between Tartarus, the jar, and the Cupid incident, Nico's mental state is at its worst at this point in the series, and I think Hazel is worried he'll do something reckless - something he can't come back from.

And so in TSATS, when Nico is told that he's going to have to leave something of equal value behind in order to save Bob, the old him would have had zero issue sacrificing himself if that's what it took to ensure Will and Bob's survival. This version of Nico, who's been going to therapy w/ Mr D and opening up more and built a little support system for himself, can't fathom it.

Nico in BoO did not have a future. He had fully convinced himself that nobody cared about him or would miss him if he was gone - not Percy who fought for him at every turn in PJO, not his sister Hazel, not his new friends Jason and Reyna. He was ready to leave both camps behind because he couldn't see himself ever being happy there. He couldn't see himself being happy at all.

But now, in TSATS, he has a boyfriend that he loves, he has friends that he loves, and he has a community in Camp Half-Blood. He has experienced so much loss that losing someone else is his worst fear. The old Nico would have considered sacrificing himself to protect Will and Bob. At the very least, he would have kept that option in his back pocket as a 'just in case'; he wouldn't have sworn on the Styx that he wouldn't stay behind.

This Nico, however, is doing much better - not perfect, but better. He loves Will, and he wants a life with him, and he's not willing to give that up for anything. Nico has hope for the future, and he's clinging to that hope with everything he has. He sees a light at the end of the tunnel, and he wants to reach it. He's not willing to sacrifice himself because it means losing that future.

Gone is the cynical pessimistic Nico who assumes the worst because the worst is all he thinks he can have. Here is the Nico who has had a taste of happiness and is willing to fight to keep it. He's not going to sacrifice himself because he wants to live. He's not just fighting for Will here; he's fighting for himself too.

And seeing him go from "if it kills me, it kills me" to "it's not going to be me" makes me so ASDFGHJKL

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[welcometogrouchland]

Was skimming through some Dixon era BoP for no particular reason and came across a scene where 3 DIFFERENT MEN (Dick Grayson, Ted Kord and Jason Bard) all show up to Babs' door at almost exactly the same time bc they're all in love with her.

Birds of Prey (1999) #19

Which is, A) really funny on its own and B) actually extremely based from a representational view. Oracle was important as disability rep in comics for a lot of reasons, one of which being that she got mad bitches in her wheelchair. She had too much swag and they had to kill her

[orengejoshi]

could you draw Dr. Flug pregnant, without the bag over his head?

no I'm sorry, if you mean my bagless Flug design; it's a little too obviously based on a real human being (GLP/GermanLetsPlay, who uses a very similar design of his persona for merch, it's absolutely his trademark. my german followers always recognize him immediately.) and I won't do that without consent. it's my full intention for him to look exactly like Manu bc I thought it would be funny. if I design a different bagless Flug maybe in the future I can do that, but I probably won't.

I dislike the idea of Flug's face being revealed and dread it. I don't want to know. the secret is the appeal!! I'm slightly objectum

this is all I can offer you! I hope you still like it🫡

some excited chatting between these two dorks🩷

I'll even throw a random headcanon at you: I like to think Flug and Black Hat are both autistic, but Flug is the talkative, expressive type and Black Hat the one that is almost always mute and monotone. yapper x listener ig haha

[mellosdrawings]

May I ask what you like about Jamilkal?

Oh my gods ok Imma try not to infodump but also stay clear while I'm rambling.

So, mostly I'm a "platonic soulmates KaliJami" believer. It's less about romance or lust or whatever else and more about them just... gravitating around each other in a way that simply cannot be described with the words we usually associate with love.

Especially since you gotta add the hatred/hurt aspect to it all. The power imbalance. The fucked up situation they're both in. The traumas they've both gone through.

They love each other. They hate each other. They need each other. They keep sabotaging each other. They can't imagine their lives away from the other. They drag each other down and themselves all the time. They care so much for each other. They keep hurting each other.

It's all about tragedy. There is no way for them to heal and get a better relationship but by being separated. But they could never willingly part ways from each other. They'd need to be forcefully pulled apart, and even then they'd probably fight tooth and nail to get back to the other. Even when they're apart they can't stop thinking about each other. The other is seared in their DNA at this point, it'd be like cutting a limb to force them away from each other.

You might think "yeah but Jamil tried to kill Kalim." While he was overblotting, yes. As did all the overblotters, whether or not they loved the people they were attempting to hurt or not. But Jamil, while he did try to ruin Kalim's reputation and have him leave the school, never intended on hurting him. He could have done so much worse, Kalim and his family have so much faith in him, and the only thing he did was trying to get Kalim fired. He would have ended back under the Asim service as soon as school was done. He never meant to get rid of him forever, just push him away long enough so he could find himself.

Which he couldn't. Because fate simply refuses to leave them separated. Because Kalim or his father insisted they stayed together. And now you might think that Kalim is the one pushing this relationship, but have you heard just how much Jamil refers to Kalim? Kalim can live without Jamil, but damn is Jamil obsessed with Kalim. To an unhealthy extent.

Yes it's because of his upbringing. Yes it's because he fears for his and his family's sake. Yes it's because he's an overbearing mom friend. Doesn't change the fact that he has Kalim under his skin 24/7.

The point isn't that it's healthy. They could never be healthy together, no matter how much they try to change their dynamic. Jamil stifles Kalim's growth by being overbearing. Kalim stifles Jamil's growth by constantly relying on him. They feed off each other. Their flaws feed off each other. They just keep making each other worse.

And that's just such an interesting dynamic to explore. They're made for each other but they can't be together. Their story can only end well if they separate. It's as tragic as you could make.

So yeah. That's why I love KaliJami. They're a tragedy. They gonna burn together and they're gonna do it clinging to each other.

And boy, if that ain't love.

[aeb-art]

i'm giving loop another thing to unpack

[introspectivememories]

thinking about shanks and buggy and how the love was there!!! it was there and it was clear and it was real and it was tangible and it still was not enough!!! the love was there when they grew up together and the love was there when they traveled the world together and the love was there when shanks gave up on the one piece for buggy and the love was there when shanks dived into the ocean to save buggy and the love was there when they promised to go to raftel together on their own ships and the love was there when they lived together in loguetown in the hiatus before roger died and the love was there when buggy damaged luffy's hat and the love was there still when they saw each other at marineford after two decades and shanks still trusted buggy to get the strawhat back to luffy and the love was there still, still, still, when rogers' body was cooling on the execution stand and his blood was being washed away by the rain and shanks put out his hand, palm faced up in supplication, and said "i'm not going after the one piece" and said the words he's been saying since he was a child, a plea, a prayer, "come with me buggy" and buggy who had given up on his hopes and dreams, crushed under the promise of shanks' shining future and his brilliant potential, humiliated by his cowardice and his belief in his would-be king, his friend, his brother, his shanks, slaps his hand away, closes his ears to the plea, the prayer, the devotion shanks is saying, and said "i'll never come with you!" the love was there still and it was not enough.

[eccentricmya]

I was wondering if we, as humans, can ever escape our humanness and write something completely detached from our experiences. I concluded not.

But that led me to a realisation of why The Silmarillion and The Lord of the Rings have such different auras. One of the reasons is that they were written by two different species: elf and hobbit.

Of course, that is disregarding the fact that they're both fictional races and the books are ultimately still written by a human with very human experiences. But the effort is quite visible to me, to distinguish the two works into 'elf-written' and 'hobbit-written', with their respective species-specific views of the world.

Silm is all about the humbling of the mighty. "We thought we were meant to change the world, only to realise it isn't for the better afterwards."

Lotr is about finding the hidden strength inside. "We thought we're too small to change the world for the better, but together, we were proven wrong."

[poorly-drawn-mdzs]

Wardrobe Woes

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[epickiya722]

I questioned, too, why Midoriya was so small in the middle of the artwork but I stopped and thought about it.

What if, hear me out doing a bit of art analysis here and not saying I'm right, what if that's the point?

For the past couple of times, Horikoshi has given us art that did indeed put Midoriya as a focus in a reasonable scale. [See examples below.]

What if this time around Horikoshi wanted to draw attention to other characters to remind us, the audience, that not only the rest of the cast has shaped Midoriya's journey becoming a hero but also that this is also their story, too?

I don't know, but that's just me.

Also, it's funny that as much as I know some are laughing about Midoriya being small, they sure did still notice how he is the focal point of that art. So really did the size matter, actually or what?

I'll be real, if Midoriya was the biggest in the art and everyone else was small, somehow you folks would still hate on it.

[silverbrides]

people who continuously assume malicious intent of johnny in all possible manner seem to forget he's a human being who literally got horrifically turned into code who's been through hell in life and in death and no amount of him having the bog standard night city tendencies (manipulation and aggression) and an inflated ego means he's just devoid of the capacity to be good - because by that standard, plenty of the goddamn cast would be

but at the same time if you can seriously look at everything presented and still think he's nothing more than a complete piece of shit with no possible redeeming qualities than you're probably not ever going to have particularly good takeaways from the game anyway