#this turned into a rambling post

[logorrhea5mip]

Sorry for the bad photo quality, Tumblr doesn't like posts this long.

[doodoodinklefart]

pov fallin in love w ur homie cuz he's so pretty all of a sudden?!?!

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[deimosatellite]

[infamous-if]

infamous turns 2 this month

[chellychuu]

Mew Ichigo 🎀

[risestarkiss]

Being Baby Blue

Rise Ramblings #313

Leonardo Hamato is…an interesting individual.

As a middle child, he doesn’t have to shoulder the responsibilities of the oldest, nor is he fawned upon or babied over like the youngest. Therefore, he ends up having more of a lackadaisical approach to life.

In his free time, instead of training like Raph, Leo can normally be found reading comic books.

And for good reason! Someone has to be up on the latest issues of Jupiter Jim and his space odysseys.

But, other than being a Jupiter Jim superfan, who is Leonardo Hamato?

If you ask Leo, he's...*takes out a list*: “Primetime,” “First,” “The Best,” “Number One,” “The Champion,” or some other iteration of all of the above.

...Huh. Anyways...

Of course, the first thing Leo would tell you is that he's the team's "Face Man."

As the "Face Man," he’s the one that turns up the charm when they need to schmooze their way out of, or into, something.

He's the face of the group! It's a very important title, right?

Well, in this scene with Hueso, we learn what Leo really feels about his place on the team.

"There's no team with just a face man." "I'm nothing without them."

Hmm. If he thinks that he is nothing without his brothers, then what's the deal with all of this "Number One" and "Champion" talk?

I believe that Leo is exhibiting a form of Reaction Formation.

Reaction Formation is a primitive defense mechanism that involves transforming one's unacceptable feelings or emotions into the opposite.

"Solicitude may be a reaction-formation against cruelty...romantic notions of chastity and purity may mask crude sexual desires, altruism may hide selfishness, and piety may conceal sinfulness."

Leo has been creating these grandiose titles and this larger-than-life persona for himself as a means to cope with his feelings of insecurity, his anxieties, and combat his self-deprecation.

Gee, forming a larger-than-life persona to counteract their suppressed feelings also reminds me of someone else we know…

But, I digress...

Behind the fabrications, his insecurities, who he pretends to be, and who he wants to be, the real Leo is still on display, starting as early as the first episode.

He's attentive, he understands the team's strengths and weaknesses, he assesses situations, he comes up with great plans on the fly, and he is a voice of reason.

These are all the characteristics of a great leader.

However, something happens when he’s actually appointed as such.

There he goes again. He's cocky, arrogant, and act's as if he's unphased even by the prospect of loosing his brothers. If this is Reaction Formation, then what is he trying to mask with these behaviors?

Previously, he was masking his insecurities, his anxieties, and his self-deprecation, but with the faces he pulls when he thinks no one can see them, I want to say the newest emotion is fear.

He is terrified of being the leader and floundering under his new responsibilities. He's scared of the consequences of his actions, and what those consequences may mean for his brothers. However, instead of voicing his insecurities, or communicating with his team, he doubles down and falls back into old habits.

The "Face Man" persona is turned up to an 11, and things get worse and worse until...

His greatest fears have been realized.

He has failed as a leader. He has failed his brothers. He has failed to stop the invasion, and they are all going to die because of his failures.

Now he's faced with the harsh reality of his own mistakes, thus he finally faces himself.

"It's scary to be responsible for the lives you protect, your team...your family. But we do it anyway because that's what it means to be a hero."

He may be speaking to Raph, but he's talking about himself.

His words are his true feelings, the same feelings that have been holding him back this entire time. By opening up, he's able to surrender to himself and let it all go.

And it's the breakthrough we all have been waiting for.

What Leo doesn't know is that through letting go, he's able to become the true face of the group he is destined to be.

He's the face of hope.

Update: This post now also exists in video form. 😌💙

○○○○

Previous | Being Big Red

Next | Being Purple ○ Part One • Being Purple ○ Part Two • Orange, Baby!

Finale | Being Hamato Yoshi

[lucabyte]

Different standards

[xxplastic-cubexx]

Hi!! Your Cherik is so good and gorgeous 🤩🤩 If you don't mind wanna try to draw some Fall of X Cherik please?

thank you so much !!

i have a couple of ideas relating to the fall of x period specifically since theres. A Lot i wanna play with, so i hope this lil thing may be a satisfactory start :]]

and the obligatory bonus:

[wasyago]

the brainrot won

[laurrelise]

tragic that even with how lackluster the umbrella academy’s final season was, we never got to see five’s house.

i want to see where the old man lives. how does he decorate? does he live in an apartment or was he able to figure out a cute little home for himself? does he have roommates? did he ever learn how to cook for himself, or does he just eat fluffernutters whenever he’s hungry? does he ever get a mr. pennycrumb of his own? (i know he doesn’t, but a girl can dream) does he ever discover a cafe near his home where a decent cup of coffee can be found?

what coffee maker does he have? where does he buy his coffee grounds? how many coffee mugs does he have? i just KNOW he collects them.

he absolutely goes into little shops downtown and finds one that says some stupid shit like “if my coffee isn’t as black as my soul, i’m not drinking it” and giggles to himself in the corner and then spends way too much money on it because it’s just too good to pass up. he’ll smile to himself on the way home and then put on a pot of coffee to try it out for the first time. he hand-washes his mugs even though they’re all dishwasher safe because he wants to make sure they’re going to be completely untarnished when he wants to use them again. he has an entire cabinet for all of his mugs and one other cabinet for the rest of his glasses and bowls and plates because he doesn’t own a whole lot but he does like mugs. and someone will ask him about his mugs and he’ll properly tell them where he got each and every one, down to exact dates and times because he remembers everything and thinking about when he found his favorite mugs makes him feel less stressed. and whoever asked will not get a single word in and they won’t try to because five is talking about his mugs and he doesn’t get a whole lot of joy from material things but it is the simple things that matter. and five likes the simple things. and five likes his mugs.

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[staticymaticyyourlifeisatravesty]

Shit post on Konrad and Sanguinius' relationship: Konrad: I bring gifts, brother Sanguinius: This is a dead body. Why are you giving me a dead body?

Konrad: Oh that was supposed to be alive still, must have accidentally touched something vital then. Oops, I can get something fresher if you like

Sanguinius: Konrad... no, it's fine... just why? You're not answering my question.

Konrad: Don't you need blood? I thought it I'd bring food because I never see you eat any.

Sanguinius, oddly touched: Konrad, that's what the Karash is for, why do you think I don't offer it to my guests? It has human blood in it.

Konrad: So you're getting drunk on wine when you feed?

Sanguinius: .....Not really, do you have any idea how strong alcohol is on Baal? Karash is nothing compared to that. I'd have to consume over three barrel's worth for it to do anything to me.

Konrad, now curious: May I try some?

Sanguinius: I guess? You are taking this far better then Horus did-

Konrad: That's because Horus is a pussy. Anyway, *tries some, proceeds to choke* That isn't wine, that's straight up fermented blood, I like you're style. Still, eat the fucking body it'll do you good

[kkoct-ik]

painty doodle from earlier this evening

[some-pers0n]

If I think about my indie bands post for too long I get upset with how people have turned a post that was just "Hey it's kinda fucked up how people use thinly-veiled homophobic and ableist language to insult the fanbases of bands/artists" to mean "Don't give in to peer pressure! Like all the corny stuff you want!" which, true, yeah, but that's not the original post. The post wasn't just about being made fun of for liking stuff it was also for people using autistic and queer as a direct insult to devalue the person listening to it

[powdermelonkeg]

Thoughts on the thunder wizard again.

Genuinely, I find Gale's relationship with Mystra to be fascinating when you consider all its facets. Unhealthy, imbalanced, definitely poisonous, but also very, very intricate with a lot of blurred edges to it. One of those things where you're both like "wow, what the hell, that's horrible" but also "that makes perfect sense for their characters, and while I would NEVER, I know why they would, and why it happened."

You've got a wizard who doesn't know what real love is, who thinks he's finally being shown it by the person he adores most. His greatest fantasy, his most potent joy, his most heartfelt aspirations, and they were all offered to him.

And he wants to see what all she's hiding from him, because of course he does. She's the keeper of all things forbidden to him. The empire of Netheril reached magical heights that will never be touched again, and all that knowledge is beyond her curtain. She loves him, right? Surely, if he proves himself enough, she'll let him grasp that power he so desperately wants.

And not even in the power-hungry sense! All that magic Mystra's locked up was accessible during Mystryl's reign. Think of all the answers to theories about the universe that are back there. Every question of "can this be done, and what would it do" would be answered, if he could just bargain hard enough.

She loves him, right?

Surely, if he proves himself enough...

And then, on the other hand, Mystra. Once Midnight, her human personality has been subsumed by the goddess of magic and her duty to the Weave. She has a responsibility to magic, she IS magic.

Then along comes this mortal boy who knows how to handle her Weave. Who doesn't try to wrestle with and dominate, who sings to it. He handles it with such ease and grace—it's not just that he could be Chosen, but he deserves it. To put her Weave in the hands of someone so intrinsically in tune with it, who understands its potential with a wonder like no other. Few enough can handle the raw power that comes with being Chosen, but this one? This one is perfect.

And he adores you. And you adore him, like one would a beautiful butterfly that's landed on their finger. And he's willing to be devoted to you in all things, not out of transaction like most of your worshipers are, but out of love for you, your craft, your magic. You're so deeply and utterly charmed by him.

And it's not like Mystra hasn't walked this path before.

She gives him what he desires, because what he desires is her. And, in a different way, she desires him. She wants him to be her representation in the world. She indulges his adoration with her own presence, and takes indulgence herself in mortal comforts. He's never satisfied with her answers, but who could blame him? She keeps a whole world away from mortals, because she knows what such unfettered power might bring about (again).

And the wizarding prodigy's ambition is lit (again).

And the height of power is reached for (again).

And she stops him (again, again, again).

She does care for him. She doesn't want to see her little butterfly burn himself, and she doesn't want to be the one to ruin those wings.

But then he's not a butterfly. He's a mortal, wielding a weapon of murder, of her murder, and he's brought it to her doorstep because she told him "no." And he's cut himself on it, he doesn't know what it is, but it's hurt him—and it's only a fraction of the hurt it could do to her. How dare he want her help after threatening her?

(He didn't mean to.)

(He only wanted to help.)

(He only wanted. How human.)

She doesn't help him. If he wants to pursue Karsus' weaponry, it's his responsibility, his hubris, that led him to injuring himself on it. She's furious. She's hurt. She's cold.

(What fools these mortals be.)

But then, there's a greater threat to her. Something that could drown the Material in Karsus' failings. And that little boy, who nicked himself on the sword he lifted, still wants her help.

It's a fair trade, isn't it? She'll forgive him, let him into her domain again, if he accepts his punishment and goes into battle for her. He picked up a sword, it's appropriate that he learns to use it in her name, right?

If he was telling the truth, he wouldn't hesitate. If he really wanted to serve her with the Netherese Orb, he would jump at the opportunity to do so. He would have to give up a few petty things in the process, ("petty," she calls mortality, as if family and home mean nothing, as if friends and love are finite. Because to her, they do mean nothing. Because to her, they are finite.) but it isn’t atonement without sacrifice, is it?

It's the tactical move. She's not above hurting one man to save a nation. It's not even the first time she's done it.

(Dornal Silverhand sends his regards.)

If he loves her, he'd die for her, because she'd let him into her paradise. If he doesn't love her, he won't, and she was justified in removing him from her grace.

He doesn't love her. Not anymore.

Does he hate her enough to try to take his dues?

Ambition has always been man's greatest folly.