#travel essential

[zytes]

this manatee looks like it’s in a skyrim loading screen

[flywell]

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[avayarising]

Batfam time travel fic idea: Dick is sent back in time to his younger body, around his early Nightwing era. But the younger body he’s sent back into at that particular moment happens to be concussed or sick or poisoned or something, so Dick (who wasn’t expecting the time travel in any case) is completely disoriented. Ten-year-old Stalker Tim sees him shivering/throwing up and goes to help out – and Dick just sees his little brother.

Tim has to deal with a confused, rambling Nightwing who is calling him by name and trusting him to help him and saying all sorts of concerning things.

(Maybe this is in New York, and Tim manages to call the rest of the New Teen Titans, who turn up and have to deal with this kid Nightwing has latched on to and won’t let go of, who apparently knows their identities. At least he seems as confused as they are about why this is happening.)

[nancywheeeler]

hopeless time loop. the way out isn’t to save everyone. the way out isn’t to save even one person. the way out isn’t to change anything. the way out is accepting how it happened the first time is how it always will be. that’s how you acted, that’s how they acted, that’s how you would have acted every time if you weren’t given the curse of hindsight. the way out is accepting you can’t fix the past; you can only forgive yourself for it.

[equill]

The Warden

Panel: No escape.

Ok, now just some silly ideas to share (playing around with the au)

Comic 1: Invading dreams

Extra: no thanks.

Comic 2: Unwanted attention

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[femmefatalevibe]

Femme Fatale Guide: Office Essentials Every Woman Should Own

A sturdy, sleek tote that fits your laptop but isn't too bulky (with at least one closable interior pocket)

Laptop, AirPods/earbuds, portable charging system for phone/laptop

Laptop stand (changes the game, tbh)

Protective laptop case/sleeve

A planner and a black pen/another color pen for marking up your notes

Another notebook/pad for random notes or a running to-do list

A pen cup holder

A ziplock of hair-ties

Disposable toothbrush, Listerine strips, and travel-sized container of floss picks

A discreet feminine hygiene pouch or two with at least 2 products in it (you can use the additional pouch for extra underwear to be safe, honestly)

A simple, easy to zip and clean makeup bag

Lip balm

Hand cream

Vaseline/Aquaphor/Homeoplasmine

Mini stick antiperspirant or deodorant wipes

Travel-sized tweezers

Lint roller

Hand sanitizers

Disposable Shout wipes/stain remover stick

Travel-sized container of antibacterial and baby wipes

Band-aids

A pair of nail scissors

A mini nail file

Small sunscreen that doesn't leave a white cast

Travel-sized hair brush

A pigmented lip color (or two)

Compact powder

Portable stick cream blush/brusher

Eyeliner/mini mascara

Eyebrow pencil

A snack pack or two of a protein-rich, plant-based snack (roasted edamame, roasted chickpeas, lupini beans, almonds, or Feel Protein bars are great options because they're portable and keep you full in a pinch without forcing you to reach for something unhealthy/not filling when you need to eat – you can also carry some freeze-dried fruit to pair alongside it if desired)

Pouch for keys, wallet, IDs, etc.

Blue-light glasses (for long days in front of a screen)

[dol--blathanna]

Thinking a lot about Orym choosing a rabbit when asked what animal he would pick if cursed with lycanthropy.

Because, it makes sense. Orym is small, quick, agile, jumps well, and is highly perceptive. That definitely evokes rabbit imagery. But a lot of Orym’s identity is also tied up with being a protector – giving people AC bumps, the shield being as much a part of his fighting style as his sword, even his title: Saviour Blade of the Tempest. He wants to be a “Shield that protects Exandria”; his priorities about saving the gods are less about the gods themselves, and more about protecting the people of Exandria from the unintended consequences and bloodshed of releasing Predathos. And it would’ve been very easy to pick a large, strong predator to try and evoke the sense of a protector – a wolf, for example, an animal associated with loyalty and protecting its pack. Yet Orym chose a rabbit.

And I think that’s interesting, because rabbits are often seen as ‘cute’ animals – but they’re also a prey animal. In fact, they’re a common food source for many animals across several ecosystems: foxes, wolves, wild cats, dogs, birds of prey like eagles or owls, coyotes, stoats, and humans (and that’s just off the top of my head). Rabbits are skittish, easily frightened; to be rabbit-hearted is to be timid or cowardly. They are not generally associated with fierceness or prowess in fighting. Mice and rats are prey animals too, but typically seen as vermin (rabbits are sometimes seen as vermin too, but a farmer could eat a rabbit – they wouldn’t eat a rat). Deer are prey, but they have hooves and antlers that bring a danger to hunting them, for any animal – the difficulties of hunting rabbits are more related to their evasiveness, speed and good hearing than any life-threatening danger they might pose. Rabbits are, first and foremost, prey animals. They are killed and eaten, so that another animal might live.

Which made me think a lot about one of Orym’s other key traits: self-sacrifice. Bait and switch doesn’t just bump up his ally’s ACs, it specifically switches their place to put him directly in harm’s way. Goading attack is meant to encourage enemies to attack him instead of his friends. He literally made a deal with a hag, essentially exchanging his own life for power to protect his friends. How many times has he gone down in a fight? He’s not the only tank – but unlike Ashton (and Chetney, who also uses ‘self-sacrifice’ in his fighting style with his blood curses) he has no abilities to reduce the damage from the hits he takes (barbarian rage and the werewolf form).

(Side note: I think it’s pretty interesting that Chetney, the wolf, has attacked Orym, the rabbit, more than anyone else when losing control. That Orym’s facial scar was given to him by a friend, not a foe).

Of course, Orym isn’t the only character with self-sacrificial tendencies (FCG wins by a landslide), but I just can’t stop thinking about how weirdly perfect it is that he chose a rabbit for his animal. Rabbits are prey animals. They are eaten, so that other animals may live. Orym takes the hits, he goads and switches with his team mates to put himself in danger, he makes a deal with a hag at the cost of his own life. He’s a soldier, throwing his life away for a cause over and over again because Ludinus must be stopped, because Keyleth has put her trust in him, because it’s the only way to protect his friends, to protect everyone, because it’s the right thing to do. Orym is a rabbit. He’s always been a rabbit. That day in Zephrah, it could have easily been Orym who died instead of Will and Derrig – “unfortunate but necessary sacrifices”, as Ludinus viewed the attack. It’s unfortunate they had to die, but it was for the greater good, according to Ludinus. It’s unfortunate that a rabbit has to die, but it will feed a family of foxes, or stoats, or even a hungry human, so it’s acceptable, right?

Orym is a rabbit. He is giving himself to a greater cause that could very easily kill him – he already willingly signed his life away to Nana Morri. Because that’s what rabbits do. They die to feed others.

And the theme of being disposable is present across the entire group, not just in Orym – Bell’s Hells has been called a “party of NPCs” before. Aside from FCG’s death, I’d say Laudna perhaps fits this theme the best: she was literally murdered and hung from a tree simply because she looked similar to Vex, acting as a warning to adventurers she had never met before. But FCG’s death was – rightfully – viewed as a terrible tragedy by the group. Laudna’s decision to remove Delilah, finally freeing herself from her abuser and emphasising she is more, and deserves to be more, than just some disposable puppet – this was rightfully viewed as a very good thing! But Orym seems to be embracing this identity of self-sacrifice instead, rather than this mindset being properly challenged or acknowledged as a bad thing. After all, there’s no time. There’s too much at stake. Keyleth, Bell’s Hells, all the memories of those who have died in this fight, all the people who might die if Predathos is released and kickstarts a second Calamity – they’re all relying on him, right? A rabbit feeding so many animals with his sacrifice. And it’s not malicious compared to the way that, say, Delilah killing Laudna was an incredibly evil, fucked up and unnecessary thing to do. If Orym died to save everyone else, well, at least everyone else would be saved, right? Saving lives is good, isn't it? How could he complain?

Because rabbits are prey animals, and Orym is a rabbit too. Destined to die so that another animal may feed.

Except, that’s not true. Rabbits are more than just prey. They’re highly social, and thrive best living with others. They’re playful, they enjoy running around and kicking their legs just to show their enjoyment. They’re inquisitive and mischievous, even being associated with tricksters in some folklore and stories. They’re also associated with innocence, playfulness, spring, youth – all manner of things, depending on the story or culture. And they’re not helpless, either, even if they might be thought of as such. They can bite and scratch and draw blood quite easily if they want to! In fact, freezing up isn’t their only response when being attacked by a predator, they are known to fight back if cornered. They can sprint quickly, they have excellent hearing and senses of smell, they know how to evade predators.

Rabbits are prey, and they are also survivors. They have their own social dynamics, their own habits and dislikes and preferences. They are more than just a wolf’s meal. And Orym is more than a soldier, too. He’s more than a “necessary sacrifice”, he’s more than just a shield and sword. He deserves more than to die for a cause. He deserves a happy ending, just like everyone else. I hope he remembers that.

Orym is a rabbit. And the message isn’t that he shouldn’t be a rabbit. It’s that rabbits are worthy of surviving, too.

[phoenixmetaphor]

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selkie au - take what the water gave me - part 1: spots

OKAY TRUST ME, this is a selkie au. that’s why leon has the prominent spots. it’s his tell.

my intention was for this to be a comic about how selkie au!leon has some skin markings, but then it became how selkie au!leon has some skin markings and ptsd. you know how it goes.

anyway it’s all @thebrandywine’s fault for giving me selkie brainrot. this is what you get for feeding me.

also on ao3 (requires login)

[bookshelf-in-progress]

Most important thing to know before writing: What is the point of your story?

There are two parts to that question.

-What are the main story elements you want to feature? A certain character? A setting? A moment of the plot? A particular theme? Which elements are essential to the story you're trying to tell?

-What type of ending are you aiming toward? It doesn't have to be super-detailed, but knowing something about where the story is going is how you know you have a story and not just an image. Is the main character going to change/grow somehow? Learn the answer to a question? Accomplish a certain goal? Make a friend?

Defining those things before you start lets you know that your idea is a story, not just an image or a concept that won't go anywhere. It also gives you a core to base the story around and keeps you from going off-track.

As long as you have defined the essentials to the story and the general direction that you need the story to go in, everything else is negotiable. You have freedom to adjust the non-essentials and explore different possibilities as you discovery-write, so long as none of those non-essentials interfere with the point of the story. If it distracts from the main point, or turns the plot in a way that'll make it impossible to reach main point of the story, it needs to be discarded. Anything else will most likely enrich your story.

[estrellami-1]

If I Should Stay

Ngl I’m kinda REALLY excited for y’all to read this one, though I’m also slightly worried I bit off more than I can chew.

Part 1 | . . . | Part 20 | Part 21 | Part 22

Steve gets Joyce situated in a guest room then heads back downstairs. Just as he opens his mouth to address the group, the front door opens.

“Steve? Who’s here?” A semi-familiar voice calls. “There’s bikes and cars all over.”

She rounds the corner and Steve is faced with a younger version of his mother, who blinks at everyone gathered in the living room, then smiles at them. “Hi! I’m Alli.”

Steve feels like he’s going to fall over. All the blood’s drained from his head and his heart gives a painful lurch. “Robin,” he manages, reaching out to grab her without taking his eyes off Alli. “Robin. Now.”

“‘Scuse us, just a minute!” Robin says as she drags Steve upstairs and into the bathroom. He slides down the wall and digs his fingers into his hair as she shuts and locks the door.

“Okay,” she murmurs, placing gentle fingers on Steve’s forearms. “We’re alone. What’s going on?”

He swallows a hysterical sob. “Alli,” he manages to whisper. “Allison. M-my sister.” He gulps, feels like he’s going to throw up. “The last time I saw her, I was seven. She was sixteen. She’d left for a… a girls’ trip in Indy. We’d t-talked on the phone the night before she left to come back home. She was so excited… gonna go out to dinner, one last time. They walked.” He can’t swallow the sob in time and throws himself into Robin’s waiting arms. “S-she got hit,” he whispers. “Drunk driver.” She gasps. “Dead before she hit the ground, according to the paramedics.” He begins to shake. “How’s she alive, Robs? How? She- we- I-”

“I know,” Robin murmurs, holding him close. “Oh, Steve. I’m so sorry. But she’s here, she’s okay. And you’ll be okay, I promise. It’ll be okay.” She hugs him tighter, lets him scrabble at her back until he finds purchase, digging his fingers into her shoulder blades.

A tentative knock on the door. “Me again,” Eddie says. It’s enough to make Steve huff half a laugh. “I think everyone’s kinda wondering what’s happening. And, uh. I’m wondering if you’re okay.”

Robin smoothes a hand down his hair. “Want me to let him in?” She whispers. He nods against her neck. “M’kay. Want me to stay? Or should I go do damage control?”

He sits back and sniffs. “Should probably go,” he admits. “Sorry, Robbie.”

“Hey,” she murmurs, leaning their foreheads together. “You and me against the fuckin’ world, okay?”

“Okay,” he whispers, managing a smile when she kisses his forehead.

She stands and opens the door, smiles wanly at Eddie. “I’ll let him explain.” She slips past him and down the stairs.

Eddie shakes his head as he watches her before turning to Steve, who clocks the exact moment Eddie realizes he’s crying. “Steve?”

Steve sniffs again, rubs at his face. “Yeah.”

“Um.” Eddie sits on the ground, back against the sink, mirroring Steve. “You alright?”

Steve laughs humorlessly. “Not in the least.” He shakes his head with a sigh. “With you… I knew. Right? I knew I was coming back, I knew I’d see you again. But her-”

Eddie blinks, frowns. “Your sister? Did you have a… a falling out, or something?”

Steve knocks his head back against the wall. “If only it were that easy,” he murmurs. “Last time I saw her, I was seven. She was sixteen, on a girls’ trip in Indy. Drunk driver hit her.” He swallows, tries to keep the tears in this time. “They were walking, it wasn’t that far from where they were staying. She was dead before she hit the ground.”

“Well, shit,” Eddie mutters.

Steve opens his eyes to regard Eddie. “Pretty much.”

Eddie opens his mouth, then shuts it with a frown. Finally he says, “I don’t know how to make it better, but I do have a joint.”

Steve laughs, only a little hysterically. “Maybe later. I want to, but…”

“You want to see your sister,” Eddie nods. “Do you have any idea how she’s here?”

Steve scoffs. “Not in the least. I’m sure Dustin’ll have at least one theory, though.”

Eddie chuckles. “He probably will.”

They sit in silence for a few minutes, until Steve feels like he can face the world—face Alli— without immediately crying again. He sighs. “How do I look?”

Eddie regards him. “Better than I thought you would,” he says, then peers closer. “Damn, Harrington, the hell kinda genes you got to not look like a mess after sobbing?”

Steve chuckles at that. “Thanks,” he says, which he knows isn’t really an answer. “Still kinda feel gross, though.”

“Well, yeah, dude, you’re still covered in Upside Down shit.”

Steve grimaces. “Don’t remind me,” he says, and they both chuckle. He manages a small, genuine smile at Eddie. “Thanks, though. You’re kinda really great at making me feel better.”

Eddie blushes a little, but his gaze is steady when it locks on Steve’s. “I’m glad.”

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[huariqueje]

Trip to Bilbao  - Imma Vallmitjana

Catalan,  b. ?

Oil on canvas , 100 x 73 cm.

[rystiel]

rewatching season 3 for the first time in forever rn and. the doctor and jack make me so sick dude. i feel sooooo unwell about them. like imagine you meet rose and the doctor, these amazing people that you find yourself traveling with and coming to care for, then one day you end up left behind by this man that you trusted, alone and fundamentally changed forever—back from the dead. you wait for over 100 years, searching for him, and when you finally find him you learn that he abandoned you on purpose. that he views you as something wrong, something that he can’t stand to look at. a fixed point, something not meant to exist. this guy that you loved and trusted, telling you all of this right to your face. like that’s crazy

[theboyfromipanema]

Beach Days 😎 Rio de Janeiro - 40°- Ipanema Beach

[technovillain]

i remember watching the american version of life on mars as a kid [i was probably a little too young to be watching it lol] and my favorite character was this asshole and i've just realized the absolute insane harry dubois energy he's dishing out

[sylhorn]

I’m kind of baffled about the state of dawntrail discussions having two parties in regards to Living Memory, one being “shutting it down is amoral” and the other being “it’s moral and not at all like what Emet-Selch wanted to do with us”. It’s like a lot of people refuse to engage with the narrative from any other perspective other than their own when the game essentially hits you over the head with the message.

Yes, the existence of Living Memory is unsutainable and amoral and, frankly, pointless – you can make the very valid argument that the people there were just AI chatbots trained on the memories of a given individual, leeching off of the souls of others, their existence demanding the genocide of the entire universe in the end. I agree, in our eyes, Living Memory is an affront to life, sure!

Nobody seems to talk about that this is the exact same perspective Emet-Selch had about us, or when mentioned, people say that it isn’t the same. It is? He very explicitly tells us that the people living on the shards today are pale imitations to what he considered to be life, and thus shutting it down and trying to undo his mistake IS the solution (he is very much like Solas from DA in this regard), because in his eyes there’s nothing to lose but everything to gain. Emet-Selch saw us in the same light we see the people of Living Memory, and the game is painfully unsubtle in drawing this parallel. Even with the differences (we are not recreated memories but actual souls being reborn from the aetherial sea, etc-etc), the game WANTS you to make this connection between Emet and what we do. It is quite literally the point!

Yes, Living Memory has to be shut down because its biggest drawback is that it’s unsustainable and would continue to destroy what we deem to be lives. It is also arguably an affront to what we consider life and its natural end (directly opposing the message of Endwalker). The Endless aren’t even too hung up about this shutdown, bar Sphene. Shutting down Living Memory is necessary.

But you can’t say it was morally good and unquestionable if you can’t give Emet’s views the same grace. In the end, both his plans (and the Ascians at large, frankly) and Living Memory had to be stopped because that means survival for us, but to divorce the two narratives to maintain the WoL and co.’s moral superiority is disingenuous and does the story a disservice.