#to life getting hectic

[erobret]

😔

[fakezircon]

It's Done!

Three months of work from start to finish! All so I could finally present to the world:

Pocket, Minecraft Edition:

Some standard rambles and fun progress images under the cut :)

So, I started this project in early August, mostly as something I could do during downtime of a then upcoming trip.

I had seen some absolutely amazing art pieces by @royalnaym which kinda gave me the idea that minecraft rendered in pixel art has a pretty interesting while still very recognizable look. At the same time I came across @groupcritpowerdynamics 's speedrun pastel pieces and those really inspired me to try depicting my favourite game in one of my favourite mediums!

In the middle of August 6th, while in the middle of packing for my trip to the UK, I decided I wanted to do this and I wanted to have it to work on during the trip, so I loaded up minecraft and went looking for a screenshot worthy of immortalization. Unfortunately I couldn't find exactly what I was looking for so I made a brand new world and started looking around for the right vibes.

I knew I wanted a lone tree, and that if I ended up including the hot bar I wanted some hearts and food missing, so after running around for a few minutes I decided I would just do it myself and planted a sapling to serve as my centrepiece.

I gotta say I think the resemblance is striking!

And now as promised, the progress gif: mind the slight flashing, I did take these in all manner of different places including but not limited to: a plane, a handful of buses, and a small inn on the shores of England (not in that order).

It's pretty neat to me that you can see how different tones of lighting affect the perceived colour of the thread, I definitely noticed it more on this piece verses other larger stitch projects.

[keys-hellscape-1020]

Brown Eyes

A/N: sorry I disappeared y’all, I got a new job and I have like no free time. I’m hoping that once I get used to it I’ll have more time to write. In the mean time enjoy this short blurb.

Jason Todd x gn!Reader

Content warnings: Jason Todd is utterly in love with you, reader is described as having brown eyes (I feel that’s kinda obvious), reader is described as only wearing Jason’s shirt, Oral (reader receiving) but it remains vague, oral scenes are more for the intimacy than the smut, Jason Todd is SO cheesy while flirting.

————

Jason Todd loves the way your eyes look. He loves how they can change so drastically depending on the time of day. He loves how they catch the light and reflect it back so beautifully.

-

He loves when he slides into bed as the first rays of sunlight stream through the window, and while he hates waking you, he can’t help but feel warm as he presses a chaste kiss to your forehead at the sight of your sleepy yet loving expression when you stir. As he settles down and pulls the blankets up to cover you both he can’t help but admire how your eyes light up with a warm honey tone as they catch the red and oranges rays of the sunrise. Jason leans in and kisses your lips. He loves you more than words can express.

-

He loves when he wakes up to an empty bed, prompting him to go searching for you, only for his nose to be met with the smell of a cooking breakfast and his eyes to be blessed with the sight of you in the kitchen, clad only in one of his T-shirts. He watches from afar, leaning against the wall as he becomes entranced in the way the hem of his shirt dances deliciously across the tops of your thighs. When you begin to place food on plates he approaches you from behind, his hands circling around your waist to hold you close as he places his head on your shoulder.

“Thought you were just gonna stand there forever.” You quip as you gently bump your heads together, he returns the gesture affectionately.

“How could I stay put when the food looks so good.” He hums lowly, pressing his mouth against the skin of your neck, causing a bone-deep shiver to rack your chest. Jason chuckles at the sensation.

“The food’s gonna get cold.” You warn half-heartedly, pushing the food out of the way just as Jason spins you and places you on the counter before eagerly dropping to his knees.

“I want desert first.” Jason teases, snickering as you pretend to gag at his cheesy comment. The mood shifts quickly however as the sight of Jason playing with the hem of his shirt as he kisses the inside of your thighs sends a shiver down your spine and prompts you to let out a deep sigh. Jason loves the way your pupils darken with lust as you watch him, loves the way he can see you let go as he breaks you down before he builds you right back up.

-

He loves how you cuddle against him during aftercare. He loves how the colors of the movie you had insisted on watching dance across your eyes. He loves the captivated look on your face, how you lean further into him when a dramatic scene happens, and how he can feel you tense up when you get nervous.

He doesn’t know how long he’s been gazing at you for, but his trance is broken when you look up at him with a playful quirk in your brow.

“Are you even watching the movie?” You tease, stretching your neck to place a chaste kiss to a dark bruise on his collar bone.

He releases a deep sigh at the feeling of your lips against his skin and lets his head hit the back of the couch with a ‘thunk!’, prompting a strange sense of pride of when it succeeds in pulling a soft laugh from you. “Why would I watch a movie when you’re right here?” Jason coos, letting his eyes dance over the highlights of your face as you roll your eyes at his cheesy attempting at flirting. Jason remains completely undeterred from his antics however as you nuzzle back into his side, rewinding the movie slightly so you can catch up on what he had distracted you from.

-

Jason loves how you look against him as you sleep, cuddled into his side. How you drool on his shoulder and slightly tighten your grasp on him when he moves. He loves watching how the shadows dance across your face, running up slopes and sliding down hills, chased by his fingers as he traces the lines of your skin, committing them to memory.

He stops his movements and tenses as he feels you stir slightly, before relaxing as you move slightly to hide your face where his neck meets his shoulder. Despite his best efforts Jason can’t help but let out a soft laugh as he feels you mummer some sleepy nonsense into the skin there.

He tilts his head to rest it against yours as he releases a deep sigh at the feeling of you curled up next to him. He knows that if he wants you to be able to sleep tonight he’ll have to wake you up soon, but for now he is more than content to lie here with the love of his life and guard them while they rest their eyes.

[poorly-drawn-mdzs]

At the start of this project all I wanted was to 'learn how to draw' using comics as a medium and the MDZS audio drama as inspiration.

I've come *very* far from making simple, 3 panel black and white comics, and I truly do intend to go even further. Thank you to everyone who cheered me on throughout 2023, it has been an incredible year in so many ways I never could have imagined. I look forwards to drawing throughout 2024 B*)

[raineandsky]

#120

When the villains caught wind of a new hero on the team, they’d all taken interest. When someone came back claiming he’s blind, it’d sparked a whole new debate.

Straightforward, they’d all said. He won’t even see us coming. They’d laughed at how easy it’d seemed.

The villain feels like they’ve stumbled on a pile of gold when they come across the hero. He’s running his hand along something on the fence in front of him, something that the villain will later realise is a braille description of the view ahead of him. A white cape drifts around his ankles, an equally white suit flattering against his typical heroic body, the lightest of smiles on his face as his fingers trace the patterns of dots along the railing.

The villain can’t help but grin as they slowly make their way towards the poor hero, so oblivious, so stupid. They’re barely a hair breadth away, their dagger practically unsheathing itself, when the hero spins towards them with a swish of his cape and a flick of a blade.

The villain barely reels back in time. Staying quiet doesn’t occur to them when they’re startled. The hero looks like he’s staring right through them, an arrogant smirk on his face.

“Ah,” he says brightly, “you’re one of those criminals I’m meant to be looking out for?”

The villain sidesteps, careful to keep their footing quiet, but it doesn’t matter. The hero’s head cocks towards them as they try to step out of his blade’s path.

“You’re almost silent,” the hero continues. A smirk adorns his face, intrigued. “Incredible.”

The villain is close enough to strike, the hero looking slightly too far beyond them to be right in his assumptions. The villain shifts in fast, their dagger poised. The hero dodges back and retaliates with a swing of his own.

The villain stumbles out of reach and the hero follows. The villain’s unprepared; they were expecting a hero who’s unsure who they’re looking for, where the villain is. They were expecting an easy plaything that they could stab when they got bored.

But this—the hero is nothing but brazen confidence.

The villain shoves their dagger up to meet his blade, throwing his arm out. They move in for another strike but the hero’s already recovered. His blade easily tucks under their arm and slices into their side.

Something of a strangled gasp escapes the villain before they can stop it. They stagger back, a hand touched timidly to the wound, their eyes flitting back up to the hero. He simply waits, his blade crimson and his eyes blank. How? How?

“Would you do me the honour of telling me who I’ve met?” he asks, as if this is nothing more than a casual meeting between friends of friends. The villain wants to snap him in half for the audacity.

“That’s none of your fuckin’ business.”

“Aha,” the hero says, almost a laugh, “You’re [Villain].”

The villain can only stare at him in horror. The hero seems to feel the tension in the silence, because he continues. “You’ve a bad mouth, favour in the blade, light on your feet.” A teasing smile. “And you’ve a smooth, caramel voice I haven’t heard in many like you.”

“Wh— Excuse me— You—” 

The hero just smirks, the stupid smirk of someone who knows he’s untouchable in every sense of the word. “Flustered by compliments, too,” the hero finishes with a laugh. “Good to remember for next time.”

“I’m not flustered!” the villain finally manages, “and my voice isn’t caramel. That isn’t a thing. You sound stupid.”

“I’m happy to be stupid if it means I can recognise you as the villain who speaks in caramel.”

The villain’s side is beginning to really ache. They need to be somewhere that’s not here when it inevitably gets worse. “Do what you want. I’m going home.”

“May I escort you to a prison cell?”

The villain barks a laugh, their side practically splitting with the forced fakeness of it. “As if you know where the agency is from here.”

“I always know where I am, [Villain].” A smile again, softer this time. Knowing. “You underestimate me for a characteristic I think makes me as interesting to you as you are to me.”

The burn in the villain’s skin is an ode to that. “Sure.” The villain turns on their heel before a thought occurs to them. “I’m going to walk away, loudly. Do me a favour and don’t fucking shank me when I do.”

The hero’s face twists back into a smirk. “As long as I hear you moving away. Until next time, [Villain].”

A blind hero! everyone had cried. It’s almost too easy!

The villain scurries away with a gash to the side and a slam to their ego, and they know now to know better than that.

[sugarpasteltmnt]

i hope you guys appreciate my level of self control because i am BURNING to drop teasers and treats for my next AU but I don't wanna start doing that until it's a bit closer to ready to reveal

[daily-ethoslab]

[773] 👍👍👍👍👍

[tmos-time]

special guests for @erisolweek; their femmestuck counterparts <3 not sure if its emerie and the romhack who have ended up in the homestuck universe or eridan and sollux who have ended up in the femmestuck universe but. by god are emerie and eridan going to bond about seeing music as a part of gender expression while sollux and the cables work on getting things back to normal LOL

[yank-a-ton]

[nick-close]

So I realize I’ve totally been dead on this account for months, which has boring life reasons. Instead of all that you can take this tho sorry gang

[playtheshadw]

siffrin doodles… agh.

Spoilers below. Beware

Trying to figure out how i wanna draw humanoid loop. It’s a fun little process.

[heliomanteia]

Organizing & contamination OCD Will Solace 🤝🏼 OCPD Annabeth Chase friendship forever in my head.

[sneakerdoodle]

earlier this month i posted about Medo Halimy's campaign, alongside two others, in an attempt to call attention to the fact that there are multiple ways to assure the validity of a campaign, including directly following the Gazan creators that are livestreaming their displacement from their personal long-standing Instagram/TikTok accounts; there is a way for pretty much anyone to find a trustworthy way of verifying a specific fundraiser, be it through getting in touch with the campaign organizer, following a project like Operation Olive Branch and others, or seeking out active online creators from Gaza directly.

Medo was martyred on August 26th, a week after the martyrdom of his 11-year-old cousin.

Medo started planting in displacement, posting videos in which he tended to tiny shoots and nurtured them into stronger plants, referring to it as an act of resistance.

View this post on Instagram

A post shared by Medo Halimy (@medo_halimy)

it's important to acknowledge that while Medo's death has left a tangible trail - we had his online presence, and now we do not, we heard his voice and now we will not - this is not a "new stage", this is not a crossing of a line. the line was crossed many awful months ago, and people just like Medo, young and old, die every single day.

i want the people who contribute to any sense of cynicism, apathy, or skepticism around the very fact of existence of Palestinian evacuation fundraisers to sit with that: here, we have a person who we undeniably know was suffering displacement in Gaza; we have a person who was trying to shed light on his and his family and friends' daily lives, and was trying to get his loved ones to safety; we have a person who was never supposed to have anything to prove, but has now paid the highest price possible, because he was, in fact, a real living breathing human being, and he was, in fact, Gazan.

this is one person that could've lived, and didn't; and so many more like him are dying, every single day. it is not in your right to feign helplessness in the face of the very fact of existence of online scammers, because telling them apart from real people is somehow too confusing for you. find a way, for yourself, to make sure that you trust the source that tells you a campaign is legitimate, and stick to it, and act on it, so that the voices of people like Medo do not fall on deaf ears.

i want to be careful not to exploit Medo's passing as a rhetorical device or a convenient illustration; so i want to strongly and directly encourage you to please, please support his family through their loss, and donate to their GoFundMe campaign so that the rest of them could have a chance at safety.

join the people leaving loving, grieving notes with their donations in Medo's memory. that is the easiest thing you can do in honor of a life lost. keep him in your prayers, too, use your voice to stand in solidarity with him and every other person trapped in Gaza and subjugated across Palestine.

Medo's family still has ~$12,000 USD to raise; please contribute to meeting that goal, and once it is met, move on to the next one, stay engaged, stay empathetic, stay determined. i repeat, there is no excuse to deny these people a chance at safety and escape. not one of us has any right to decide that they do not deserve it. you don't get to decide for them if their choices in the middle of a devastating genocidal assault are ones you approve of, or can "justify" supporting. (<- this, specifically, is directed at people who have argued that it's somehow wrong to support specific individuals trying to evacuate because a) it would benefit corrupt officials in Egypt, b) it wouldn't help everyone who is forced to stay behind) and, again, there are multiple ways for you to know who your money is going to. don't become apathetic just because you don't believe you have one right now.

Medo deserved life, and so did every other martyr, and so does every single Gazan that is still here, still fighting for their survival and still asking for your participation.

[hatecrimesmd-rests-my-soul]

*team awkward silence*

[poorly-drawn-mdzs]

Happy day one of Chatember, starting it off with strong with the Thunderclan (Jin) leader, Jin Guangshan (Lionstar)

(Name and AU credits to @clintbeefwoods!)

[rainintheevening]

Part I – Part II ... Part XVII – Part XVIII

They don't set out to become the kings of St. Maurice’s School for Boys, it just sort of happens.

Peter's not trying to be a king so much as be King Peter, not trying to lead so much as care for others, but it feels so natural to speak up, to step forward, to give orders and receive respect. He doesn't ask to be called ‘sir’, as the younger boys do when he scolds them, and he feels embarrassed when he hears other boys say, “Here comes His Majesty.” He's not the king of this school, he's not even Head Boy. He's just… Peter Pevensie. And yet, somehow, he knows he's High King Peter too, he remembers being that, and it lingers in his body and mind, sinew and soul altered in ways he cannot take back. He wouldn't take it back even if he could.

It's easier for Peter to see the little things in Edmund than himself: the way he laughs freer and brighter, even as he studies harder and deeper; the calmness with which he takes insults; the concern with which he addresses people in the wrong.

Peter finds himself instinctively turning toward the sounds of shouts and fists, finds himself leaping to either halt or join the altercations, depending on their nature. He's quick to see who's at a disadvantage, quick to pick a side if there's a clear one. Ed has similar tendencies, though he's sharper with his tongue, prefers to break up fights with some pointed words, and only the threat of fists, unless his brother is already embroiled.

Peter's ear seems specially tuned to his brother's voice, easily picking it out of any row, no matter how many boys may be shouting, and he is never surprised to discover Edmund at his side in the thick of it. They look after each other, guard each other's backs as much as possible, fight for each other when they must.

By the end of the winter term, they are both widely accepted leaders across the school, Peter on a level with Head Boy Wollers, and Ed as something similar among the lower forms, who consider him more accessible than Peter.

He picks out a pattern in the whispers: If you want protection, go to Peter; if you want clever ideas, go to Edmund. And it makes him smile, another echo of their kingship and the roles they'd taken while ruling from the Cair.

They stop bullies, and lift spirits, and it's all good, it's right, it's what Aslan would want, Peter's certain.

And then they go home.

Home for the Easter hols, home to Finchley for the first time since they left it in the autumn, when the bombing had only begun, and they sit silent on the train drawing them into London, dragging them out of the near-dream they suddenly know school to have been.

They have to change trains twice, because the lines are knocked out, and slow-rising tension crawls up Peter's spine, works knots into his shoulders.

It comes in flashes between the stretches of unspoiled land: the edge of a city bombed into jagged walls against pale sky, someone's kitchen gaping open to the air like a wound, a funeral procession down a country lane.

Closing in on London in the evening, the ragged grey look of everything increases, and silence settles in their compartment. They come into Tottenham Station minutes before blackout descends, and disembark into the brokenness of patched up walls, and boarded up windows. Their train is late, no one is waiting, they'll have to walk all the way up Tottenham Road to take the Tube from Euston. Even in the station their breath makes clouds before their faces.

Outside, the cab stand is empty, and they say nothing, hoisting trunks up to their shoulders, Edmund his shadow as he turns down the street. The edge of the heavy trunk digs into Peter's shoulder, it is deucedly hard to balance with his suitcase dangling from one hand, but he breathes, walks, one foot in front of the other.

It's hard to breathe, hard to see, they are walking through wounds, great gaping wounds bleeding fire and stone, city skin torn open to vital parts, and Peter does not know this London. He walks as if in a dream, slow and stunned, only the occasional knock of Edmund's arm against his reminding Peter he is in fact awake.

Halfway there, Edmund is forced to rest; he's smaller, not as strong as Peter, but his trunk weighs nearly the same.

Ed sits on his trunk, panting, and Peter says nothing, because there is nothing to say, just stretches his back, trying to stand tall, peering up into the blackout murk, searching for the sky.

Chilly, twilight air hangs heavy with smoke and dust, sharp, angry smells that send memories flickering through Peter's head like a faulty film reel at a picture—smoke above trees, smashed stone walls, reek of blood, red streaked down Rhindon's silver blade, giant's club smashing down on Edmund, shout burning in his throat, Erah's face coated in scarlet dried to rust, stern sorrow for destruction, Ed's pale but smiling face…

“Peter? Pete!” Tugging at his sleeve, and he starts, looks over into his little brother's worried eyes. “Are you alright?”

“It's wrong.” Peter waves a hand around them, ember broke to flame in his chest. An old woman limps past, head down, torch pointed at the ground to see her way. She doesn't even glance at them. “All wrong.”

And he reaches for Rhindon, but finds nothing, his hands are empty, he's in his school uniform not armour, he's a boy alone in the streets of London–

The air-raid sirens blare.

Fear gives them strength, and the world blurs until they tumble down the steps to the underground station, trunks and all.

Packed in with the hundreds of others sheltering there, they surrender the preferred positions on top of their trunks to older folk with bad knees, and huddle beside them on the cold concrete platform, Edmund pressed close enough for Peter to hear his whisper: “I wish we'd never come back.”

A little boy with a sticking plaster on his chin is squirming in an older girl’s arms, querulous with his need for the toilet, and an old milk bottle gets passed over.

Peter is trying not to breathe too deeply, the reek of the sweaty, fearful crowd nearly enough to make him gag. He doesn't know if Ed means back from school or back from Narnia, but he agrees with either.

“I hate bombs.” He rests his head against Ed's, sticks his nose into his brother's hair that still carries a hint of Yorkshire moor mist, closes his eyes. “Rather catapults, or even a dragon.”

The fire in Peter’s heart burns there, gnaws at his breastbone, his lungs. His hands keep clenching into fists, before the ache of his muscles catches his attention and he forces himself to relax.

The ground beneath them shivers, the lights flicker.

A baby cries, a dog whines, someone begins to sing, and Peter feels as if the concrete roof has already caved in on him, he is trapped, squeezed, he can't move, he can't do anything.

Oh, for a sword, an army, for Aslan! But Peter can't imagine the great Lion in all His beauty here, in this dingy foul smelling crowd. He closes his eyes again, wraps an arm tight around Ed.

Ed sings softly with the others: Abide with me, fast falls the eventide…

It's after 11 by the time they drag up the steps of their home, and no light escapes at any window, they cannot tell if anyone is even there. The girls have been delayed letting out thanks to a suspected case of the measles, and sometimes Mother works very late…

A light is on in the kitchen.

In the front hall, Ed drops down on his trunk, wordless, but Peter halts one step into the living room.

The fire in the hearth has burned down low, but there is enough light for him to see the woman lying across the sofa, still in her factory overall, so heavily asleep two boys blundering in with their luggage could not wake her.

Behind him Edmund starts to speak, but Peter turns, grabs Ed’s arm to tow him in his wake as he fumbles blindly into the kitchen.

He thinks his heart is breaking.

He sees the table set for three, supper gone cool, everything waiting for them, she must have fallen asleep waiting, and Peter… he thinks he's going to cry.

He doesn't.

His voice sounds odd and crackly as he tells Edmund, “Go and wake her gently. I'll reheat the soup.”

Peter comes awake in his own bed, sometime early morning, perhaps when he usually rises to go out to the stables, but he lies in complete darkness, listening to mother quietly moving about the kitchen, the door shutting behind her as she leaves to catch her bus to the factory…

And then he hears the air raid sirens very faint and far away, somewhere to the west, and he doesn't know why exactly but he is crying.

He rolls over to bury his face in his pillow, muffle the sobs, but they break out hard and fast, like the wild fire in his chest has become a bird beating its wings against his ribcage, and there is no escape, there is nothing he can do. He is nobody here, nothing, he doesn't count. He is small and trapped, and wild for open sky and the woods and the great moor rolling away and a fresh horse under him.

He thinks of the boy with the sticking plaster, the girl with the glasses, the great jagged wall that had once been a bakery! he suddenly remembered, with the most delicious cinnamon stickies one could imagine. And Mother, oh, Mum, it's not fair, you shouldn't have to work like this, it's all wrong, wrong!

He is weeping, broken open with a kind of hopeless fury for the pain around him, sobbing in the dark.

A patting hand finds his head, his shoulder, and Peter catches his breath, feels Edmund's weight dipping the mattress, a fumbling offer of comfort the way he knows Peter receives it best, and Peter… Peter cannot bear it, he flinches. Sob strangling in his throat, and he jerks back from the touch, curls away from the loving warmth of his brother, covers his mouth with a hand.

He does not want to be seen or heard, not like this, so wrecked and vulnerable, so weak and useless.

Hasty, fierce, he swallows the heaving, stamps out the fire, chokes down the tears, wrestling his body into a trembling, sniffling quietude.

“The only place you're useless is in the kitchen making tea.”

He stiffens at Edmund's hard-edged words, unbalanced by the wondering of how much he may have said aloud, or how much Ed might have guessed.

Edmund stands, moves away. “Come on, it's nearly six, and I'm starving—let's get breakfast.”

And then he's gone, creaking down the stairs, and Peter lies still, a few more tears making their way down the side of his face to the pillow. There is a cold space at his back, he is empty inside, hungry and weary in equal measure.

He does not understand. Any of this. Or so he tells the shadows.

He only understands that it hurts.

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