#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.

[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)

[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 😭✋️

[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

[journey-to-the-attic]

one thing about ik is that she will always reach out

[aeb-art]

i'm giving loop another thing to unpack

[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."

[thesmokinpossum]

If My Body Could Speak, Blythe Baird | The Godfather, Mario Puzo | My Father's House, Sylvia Fraser | To The Daughter Who Secretly Longs For Her Mother’s Affection, Lynne Shako | Storms from Jupiter, Wanda Deglane | DO NOT REPLY, @filmnoirsbian

[poorly-drawn-mdzs]

Wardrobe Woes

[First] Prev <–-> Next

[scintillatingshortgirl19]

gee i wonder if the issue could be at all related to the fact that the current treatment plan for his chronic pain consists solely of FUCKING IBUPROFEN

[lgbtlunaverse]

The women Jin Guangyao uses to kill Jin Guangshan are NOT from the brothel he grew up in

Except for Sisi, obviously.

But, crucially, Sisi MOVED brothels after her face got slashed.

That's why Jin Guangyao only recognized her after Jin Guangshan was already dead. If he had sourced the women from the brothel he grew up in, you think he wouldn't have made sure beforehand that they wouldn't include the one woman who was explicitly nice to him and his mother? He couldn't bear to kill her even after she was already a witness, but that meant he had to imprison her instead. Not exactly an ideal scenario! You think he wouldn't have thought to avoid that?

Well, that's all hypothetical anyway, because he couldn't have sourced anyone from the brothel he grew up in anyway, because that brothel had already been burnt down. By Jin Guangyao! This is the order he gives Xue Yang at the end of the villainous friends extra, which also contains Xue Yang meeting Xiao Xingchen and Song Lan. Which means this is way before Xue Yang kills the Chang clan, Xiao Xingchen eventually catches him, and Nie Mingjue kicks Jin Guangyao down the stairs which leads to his death 2 months later. And Jin Guangshan doesn't die until after Nie Mingjue is already dead, so while this is definitely where Jin Guangyao starts planning to kill his father, it's well before he actually executed that plan. By the time he does, that brothel is ash.

I say this because there's been several time now where I've seen people attribute Jin Guangyao using sex workers to kill his father, and killing them aferwards, to some kind of revenge scheme? A way to get back at the other women in the brothel who mistreated his mom at the same time as he gets back at his father. But all those women died when it burned to the ground. We see their ghosts in guangyin temple! Every single woman Jin Guangyao uses to kill his father and then later executes was a complete stranger to him. It has nothing to do with who they are and everything to do with what they are (older 'ugly' sex workers) Whether you think that makes his actions worse or better or generally has no moral impact i'll leave up to you. But it's important to remember that while the violence he enacts on his father is deeply personal, what he does to the sex workers is not.

[thomas-the-goat-of-satan]

you're ugly when you act like that.

[solarpunkani]

"Oh no, someone's attracted to the aesthetics of my -punk movement but doesn't know the praxis and history behind it like I do--"

OK. Tell them. Make it a teaching moment. Everyone who's in your movement learned the background from somewhere at some point, maybe this is that point for that person. Give them a jumping off point that they can dive into later.

"Oh but I shouldn't be responsible for teaching baby -punks about the history and the how-tos and--"

OK. Then don't tell them. You don't have to be responsible for teaching people with a budding interest in your group the ins and outs and how-tos. That's fair and valid! It can be a lot of work. Someone else will handle it

"But I'm annoyed that they would try to claim to be part of/be interested in my community without knowing all the details that I know after being in it for months/years/decades, they're dumb, they're posers, they're--"

OK. Then don't engage with them, if it's that bad. Maybe someone else will come around and tell them the history, maybe they'll pick it up on their own, maybe they'll just enjoy the fashion elements for awhile.

"But they shouldn't claim to be part of the -punk community if they don't know the--"

I feel like we have a few options here. People can either talk to them, share the history, share the values, share the praxis. Or they can just chase off anyone who even thinks about dipping a toe in their community, and then wonder why it's dying off later down the line.

I dunno, maybe I'm too naive and patient or whatever. But if people are entering your -punk spaces without knowing The Rundown of what you feel they need to know, maybe being nice about it and informing people instead of immediately assuming stupidity and malicious intent could help you make a new friend. Even the loudest voices in a space had to learn from somewhere, and not everyone has the luxury of being in the space as the History was Happening--whether it's an age thing or a not being aware of the space thing. Or maybe I just don't see what the big deal is behind people hating people who like the aesthetic of something and don't know the behind the scenes history about it yet.

Because I believe in the word 'yet.' No one comes into this world knowing everything about everything, and we're all constantly learning new things. I'm not gonna degrade someone and call them a poser for not knowing what I know. Because if it were me, interested in a scene but getting chased out and called a poser? I wouldn't hit the books and study up, I'd go 'that fuckin sucks, those people sucked' and then avoid anyone and anything having to do with it.

So chase people off and call them posers if you want. But if your community starts dwindling, don't be fucking shocked.

[fromtheseventhhell]

Okay but? Arya's training is going to make it so fascinating to see how she comes across in other POVs. She knows how to rule her face so she doesn't give away her emotions, how to tell and detect lies, and now has the added experience of her apprenticeship with mummers. Everything about her interactions with others will be incredibly intentional on her part and I need to see what that looks like to other characters.

[starmocha]

Is this how he saw himself? Or did he come to believe in rumors started about him?

In the café, you can also trigger a dialogue where he speaks in disdain about humans and their selfishness. In his first myth, Captivating Moment, I believe there is a scene of him eating in a park with MC, and there is a comment made about Sylus preferring animals to humans, because they don't have any ulterior motives or greed (loose paraphrasing, I don't recall the exact words or specific meaning, and don't feel like going through the myth to look for it rn).

It's interesting how he can casually remark and view himself as being a monster when, in actuality, he is not wrong for also viewing humans as the real monsters. Appearances don't make creatures monsters. It's their actions and behavior.

[warblogs17282]

Looks like it's time for me to discuss this piece of merch.

I instantly notice two things, the first being that Stolas genuinely looks terrified in the first picture, with the pupils that appear when Stolas is extremely stressed as well. They're not looking at Stella, however, they're looking away from her, at something else, or someone else.

The second thing being that Stella now appears to be laughing while looking directly as Stolas, who is now no longer wearing his crown. Stella and Octavia are still wearing their crowns, which I feel potentially implies that the second picture was taken after Stolas has lost his title of Prince. This is probably overthinking but I'd also like for you to pay attention to the fact that the arrows point to Stolas in both pictures, his face in the first picture, and his crownless head in the second picture.

Plus, the grimoire is now in shot for some reason, which considering Andrealphus' comment of 'Because, my dear sister, you've already produced an heir; when he dies, his duties, his possessions, his legions, it'll all pass to.... Via.', sure Andrealphus is talking about specifically if Stolas dies, but I feel like this would also be true if Stolas loses his title of Prince. His duties will be one of the things that will be passed to Octavia if that happens, which could explain specifically why the grimoire is present in the second picture.

All of this would also tie in perfectly with Stella's line of 'I'm going to take everything! Everything you own!', with one of those things being Stolas' title of Prince.

But getting back to the first thing I noticed, I think I can explain the specifics of why Stolas is so terrified in it.

A few lines from Paimon stick out to me, those being these ones:

"It is finally your day of becoming a true part of the Goetia family."

"Also, son, you are destined to sire a precautionary addition to the Goetia family."

"Would that distract you enough from your non-negotiable future marriage?"

The first thing Paimon does is basically hold Stolas at metaphorical gunpoint to sire (give birth to) a precautionary addition to the Goetia family. You may be asking, but Stolas did sire Octavia, why does he look so terrified in the first picture if it's not Stella he's looking at?

The answer is simple, it's because that metaphorical gunpoint I mentioned earlier extended beyond just siring Octavia, it likely went on until Octavia reached maturity/was close to reaching maturity. (aka, the age of 18.) Considering Octavia was just a very young child in the first picture, it tells us that the metaphorical gunpoint was still a factor for Stolas, hence explaining why Stolas looks so scared in it.

My proof for this is a few comments made in s2 e1. Those being:

"What do you think the rest of the Goetia family will think?"

"And the only thing the Goetia family wanted from our marriage is already 17, so, it's over, I'm DONE!"

The common link between all the lines I have showed you is the Goetia family, Stella uses the family to threaten Stolas, meaning that she is naturally aware of this metaphorical gunpoint as well, hence why she uses it in an attempt to stop Stolas from getting the divorce.

But then Stolas fires back, telling us that the only thing the Goetia family wanted is already 17, which most likely tells us two things.

The first being that the metaphorical gunpoint Stolas was under did extend past just siring Octavia, it also reached to raising Octavia until she was mature enough/close to mature enough, which was likely the age of 18, but at this point Octavia to close enough to age.

The second being that the same metaphorical gunpoint Paimon, and by extension, the Goetia family put Stolas under is no longer a worry because Octavia is now 17, close enough to reaching maturity for the Goetia family, which again, I believe is 18.

Considering all of this, I believe that this adequately explains specifically why Stolas looks so terrified in the first picture, and the fact he appears to be terrified of someone other than Stella in that picture as well.

Which begs the question, just what or who is Stolas looking at in that picture?

It's most likely Paimon, although, considering all the comments about the Goetia family that have been made throughout the show, in theory, it could be anyone in the Goetia family who reports to Paimon, or anyone with equal or higher class compared to Stolas.