#was this coherent? probably not

[panstarry]

my final from last semester that i made into a zine. cooked this one up in a couple hours before the critique (the ink was still wet!), so it's very raw and kind of sloppy but the sentiment is there. i love you trans people of color. we are the backbone of this community 🌟

[ephemeralfatalgrace]

So in a lot of fanfics I’ve read Edwin is touch averse to everyone, including Charles, and it’s like “touches like this are rare” blah blah blah (not hating bcs I love them all) but if we look at the show, they casually touch all the time, (they’re obsessed with each other). My absolute favourite scene is in episode one where Charles is trying to teach Edwin boxing and he’s all bouncing around and he does this thing where he mimes drilling into Edwin’s head with a hand drill and Edwin just looks like he’s trying not to smile and lightheartedly shoves him away. Trust me that is not something you do with someone you’re not comfortable touching. Give me Edwin seeking out touch from Charles and he’s so gentle even in his admonishments and it’s not the kind of touch either of them are used to. Give me Charles shying away from Edwin at first because he had to be such a typical boy when he was alive and the only touches with his friends were slaps on the back or punches on his arms, and he wouldn’t dare hurt Edwin because he’s the best person Charles has met. Give me them learning how to touch until it’s so casual they barely notice when Charles swings his legs over Edwin’s on their little sofa, or when Edwin uses a hand on Charles’ back when he’s going past, or when they fumble into each other (because come on they’re lanky teenage boys they don’t have control over their limbs, coming from a lanky teenager) smoothing over the nonexistent pain with their palms.

TLDR: I want more soft DBD fanfics with casual (platonic) touches until it’s not so platonic anymore.

[starfilledsea]

thinking about “to know how it ends but still begin to sing it again” and “it’s a story about someone who tries” and “we raise our cups to orpheus not because he succeeds but because he tries. we understand implicitly that there’s value in his trying and even in his failure.” and “it’s a sad song but we keep singing even so.” even when you fail there is value in the fact that you tried and that you believed enough in your goal to try despite knowing you might fail. it is worthwhile to try, because you never know. maybe it will turn out this time! perseverance despite the odds is worth celebrating even if it ends in failure. success is not the only thing that matters. and you never know that the ripple effect of your actions might be. orpheus does not recuse eurydice but he succeeds in helping spring to come again and potentially in preventing other people from losing their loved ones as he did, and that is a good outcome. we do not see the effect he had on the other workers in hadestown. yes, orpheus failed, but maybe if they sing it again someone else will succeed. someone has to keep telling the story.

[ghost-proofbaby]

the tik tok trend of flashing your boyfriend unexpectedly would have both eddie and steve like 😵‍💫🤤😵‍💫

oh my god.

but hear me out. yes, both boys would absolutely drool, but they’d also react just a little bit differently.

(i got carried away beneath the cut my fucking bad minors dni)

with steve, i can see you doing it during a fight. he’s saying something like “it was your turn to do the dishes, baby-“ and then you’re suddenly yanking up your t-shirt that had once been his and he’s just blanking. rapidly blinking, mouth agape and brows slack before furrowing them up. “what’s the matter?” you’d tease him.

and he just starts huffing in frustration because “no. no way. nope. not fair. you still have to do the dishes.”

and so you’d jump a little, smirking at the way his eyes are widening before he just starts pacing and you’re being even more of a fucking tease.

“are we sure about that? can’t we renegotiate terms, baby?”

“renegotiate? reneg- fuck off. fuck right off. i-“ and he’s tugging at his hair, torn between continuing the small argument that he can hardly recall the premise for now as you continue to grip on the hem of your shirt and smirk so proudly at him. “fine. you wanna renegotiate, honey? let’s renegotiate.”

you think you’ve won until he’s suddenly grabbing you up and taking you to the bedroom, treating you like the brat that you are. and by the end of the night, he’s just smirking at you and your chest littered in flowering bruises as he says, “guess you’ll have to clean the sheets instead now, baby.”

but then…. but then with eddie. oh dear god.

it’s not over a fight. no. it’s not a distraction — it’s your attempt to gain his attention. he’s been paying attention to planning a campaign or his guitar or just anything but you the entire day. and by the end of it you’re just so damn needy. it was either this or full on climbing into his lap, and flashing him was just the easier of the two options.

“hey, eds?” would be your innocent start to it, but honestly? he’s not even listening. he doesn’t even hear you as he’s focusing on his damn notebook.

he doesn’t even notice when you raise your shirt, or when you huff with annoyance as he continues to be so fucking oblivious.

“eddie.”

no response.

“edward.”

still no response.

“edward munson-“

when he finally hears his full government name you have half his attention, but not enough of it. he wouldn’t even glance up from his notebook as he says, “just a minute, sweetheart. i just figured out this new NPC and really need to-“

“how the hell do i have my tits out and you’re still talking about that fucking game?”

that would get his attention for a few reasons — the promise of tits and your tone of voice for starters — but even more so, the fact that you rarely lose patience or understanding when it comes to his hobbies. he’d be looking up in an instant, you could probably have heard a crack from across the room at how intensely he’s suddenly snapping that damn head up just to catch you dropping the shirt back down.

“wait, no, wait- what? where’d the boobs go?”

“sorry, only boyfriends who pay attention to their lovers get boobs.”

he’s never tossed that fucking notebook to the side so quickly as he spins around his chair, full focus on you entirely now, “who said i wasn’t paying attention? i’m paying attention, sweetheart. i’m paying so much attention.”

he’d prove just how much attention he’s paying to you when his head is buried between your thighs, only pausing on rare occasions to breathe and sometimes spout out new ideas for that stupid campaign, which only makes you tug harder on his damn curls and cut him off with his own moans before he returns to giving you his full attention.

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[sweetlullabyebye]

Charles' thing is that he wants to feel alive and that's part of the reason why he decided to never move on to the afterlife right? Meanwhile Edwin thinks Charles will move on and that he'll be alone again because 'he isn't good with people'.

But then when the Night Nurse shows up a second time Charles is ready to go wherever -including Hell- as long as Edwin shouldn't have to go back there, meanwhile Edwin refuses that they be split up, and both are okay with being sent together to the Lost and Found Department to be sorted out later as long as they're together-

[the-whispers-of-death]

Ghost as a cat hybrid... Him following you home and not leaving your house as he lounges around. His tail swishes when you end up giving him food and water because of how determined he was to stay, so happy that you were caving into his demands.

A soft purr escapes him when he sleeps on your couch, his large body curled up beside you because he refused to let you out of his sight. Oh how he thinks you're his human.

[sporelings-au]

Hi guys! im going to be basically rebooting the whole sporelings au. i wanna make it more interactive and a bit more story based

anyways, timeline wise, we're at a part where all the mycelium resistance members are here but they have not met scar yet

[hylianane]

The Strawhats are all very fiercely protective of each other, they care about each other in equal measures, but I love that they’re always the quickest to act when its matters concerning Robin. Robin is who they express their protectiveness and love for must often and most explicitly. if its for her, even a member of the ‘coward trio’ like Nami will threaten to beat up CP0 agents. Yknow like the “How dare you make Robin cry?!” misunderstanding in Egghead, and everyone vowing to protect her in Punk Hazard and blushing like crazy when she says she trusts them? And it doesn’t just make me happy because Robin is a character that I hold dear to my heart, but in a meta way, I appreciate to see so much love being expressed towards like? An older woman?

Not that Robin is an OLD WOMAN by ANY MEANS, the woman is thirty. But she’s very unique as a character because as an older woman, she doesn’t serve any of the usual spots in the Strawhat’s life. She’s not their mother, their mentor, their boss. And she’s very independent, physically strong, and one of the most brilliant and knowledgeable people in the One Piece universe. She’s not someone’s charge, their daughter, or their pupil. She’s not even, like, actively being asked to use her skills to help Luffy’s mission, Luffy has no personal interest in the poneglyphs and ancient histories of the world, she’s doing that because she wants to. And it’s so. neat that she’s allowed to do that? An example of an adult woman in fiction who isn’t being pressured to be strong for anyone, and even more than that, is at every turn treated gently and reminded that she can rest, she can rely on others, that she will be protected. That she is loved for being herself. That is so neat? It is so unique?

Oda is NOT a shining example of feminism guys, (often the opposite), I know this, I am not delusional. But a character that fulfills this specific female fantasy of being seen as adult and capable and intelligent, but without the drawback of being expected to play caretaker- being so casually cooked up and presented by some guy? That’s pretty neat. I’m high-fying him over that for sure

[dandylovesturtles]

havin' all these Splinter and Leo thoughts. augh.

this is partly the fault of @/turtleblogatlast's post about Leo just wanting to make Splinter proud.

post-movie

...

Seven days post-invasion, and Leo is feeling (relatively) pretty good. Sure, he's still on a truly ridiculous amount of painkillers and he can't walk two steps without collapsing, but he's able to stay awake and talk to his family and considering where he thought he would be right about now, well... that's everything.

So yeah, he's feeling pretty good. He just finished his lunch of soup and a protein shake, warm and a little drowsy while he listens to April talk about some of the more ridiculous conspiracy theories that have started spreading on the surface. Donnie's tinkering with one of his smaller inventions while he listens, Mikey is nestled in Raph's lap, and everything is calm and cozy in their makeshift medbay.

And then his dad walks in and says, "I would like to talk to Blue, please. Alone."

And suddenly Leo doesn't feel so good anymore.

"Aha, wait," he says quickly, reaching out and grabbing April's sleeve just before she rises from her chair. "Whatever it is, you can say it in front of everyone, right?"

Splinter shakes his head. "This is a conversation I think it is best we have in private." He makes a shooing motion at the others, and April pulls her sleeve from Leo's fingers with a helpless shrug.

"See ya in a few, Leo," she says, then walks out. The others look from Splinter, to him, then back to Splinter, and one by one they each get up and shuffle out, too, with their own hasty farewells.

Traitors, every single one of them.

The door closes, and Leo finds himself alone with Splinter for the first time since coming back from Staten Island. Or at least, the first time he can remember. He was pretty out of it the first few days; most of what he remembers is muddled and confused. And embarrassing. He cried a lot more than he'd care to admit.

Splinter hops into chair April was sitting in and pulls it closer; he has to stay standing to be anywhere near eye level with Leo. He wishes he could read Splinter's face, but his expression is giving nothing away. Sometimes it's easy to forget he spent a not-insignificant part of his life as an actor, until something like this happens.

Leo decides to speak before he can. Head him off at the pass, or something.

"If you're going to yell at me, just remember my eardrums are already damaged."

Which is true - turns out being 1, too close to an exploding alien spaceship and 2, getting punched in the head repeatedly by an alien very mad about said exploding spaceship is bad for the ears, even when you don't have outer ears like a human. So super loud noises are a bad idea right now, and thus Leo cannot be yelled at. Flawless logic; maybe he can keep using that every time he gets in trouble.

For the first time, his dad's expression shifts, just a little. A deeper frown, a heavier set to his brow.

"You think I came in here to yell at you?"

Leo feels his stomach twist. Does he have to spell it out? "I mean, didn't you? That's usually what kicking everyone else out is leading up to."

"I see..." Splinter is still unreadable, looking a little too intensely at Leo. "And what do you think I want to yell at you about?"

He really does want it spelled out. Leo suddenly realizes that there won't be any yelling because this is his punishment: to admit everything he's done, to speak all his sins for his dad's ears. Lay it all out in his own tongue and show that he understands, really and truly, the depths of his screwups.

Oh, he understands. He understands it so well he may choke on the words.

"...For losing the key," he says finally, and it stings on its way out. He hasn't talked about it since it happened; every time he tries to say anything to the others, they shush him, saying, "It's okay, Leo, everything is fine now."

It's not okay, and everything isn't fine, and this is when he finally hears about it.

Finally, an identifiable emotion on Splinter's face: horror, dawning clear and present. And Leo doesn't understand that, because doesn't Splinter know he lost the key? He was there for that conversation, wasn't he? Leo's memories of that day have grown a little hazy between the drugs and the recovery and the fact that thinking about it for too long makes him go fuzzy around the edges, but he's pretty sure he remembers Splinter being there. He flicked popcorn at Leo's head. He probably should have done more than that; maybe then Leo wouldn't have made such a mess of things.

Splinter doesn't say anything right away, just stares at Leo with that horrified expression, and the silence is so scary that Leo starts filling it without even thinking.

"I was kidding about the whole... not yelling at me thing. I know I deserve it. I mean, I was fooling around, doing what you and Raph told me not to do, and I doomed the whole world doing it! Some leader I am, right? And I know I'm not exactly your favorite son to begin with, and that's fair, because I keep letting you down, but this is definitely my worst screwup to date, and you yell at me when I don't close the fridge door all the way or throw balls around the TV room so why wouldn't you yell at me for destroying the planet, right...?"

His voice peters out at the end, too hoarse to continue. That's the most words he's strung together over the last week, and for the first time he's glad for his injuries, for stopping him from spewing any more embarrassing word vomit just to fill the air.

Splinter is still looking at him with that same horrified expression. If anything, he just looks more upset, which means that Leo at least accomplished his goal.

Leo's waiting for the yelling to start, but when Splinter finally says something, it's, "You think I have a favorite son?" throwing Leo for a loop once again.

"Uh, yeah?" he says, because that's all there is to say. He's always assumed it's Donnie - the "funny one", the one who fixes Splinter's TV when it's broken, and the only one of them likely to get a real job and move out of the house. But even if it's not Donnie, it's gotta be Mikey, or Raph. His brothers are amazing and talented, and all Leo has ever been good at is winning the Lair Games.

Splinter closes his eyes a moment, and when he opens them his face moves back to a more neutral expression. "I do not have a favorite son," he says, firm and serious. "I love all of you just the same."

Leo thinks that can't be true - if it is, he feels bad for the other guys. But he doesn't think he can just say that, so he says, "Yeah, Dad, of course," instead.

Splinter looks a bit crestfallen. "You don't believe me?" he asks, and shoot. Leo has no idea how to respond to that.

"...I know you love us," is what he says. And that's true, it is! He just doesn't know how his dad could like him as much as the others.

Splinter's expression turns sad. He reaches out and lays a furry hand on Leo's arm, careful of his bandages and all the many wires he's hooked to. "You think you doomed the world?"

"I lost the key," Leo repeats. "It was all my fault. It's why I had to..." His voice fumbles over the words, and he revises. "It's why it had to be me."

Splinter's mouth twists. He climbs out of the chair and onto the mattress, careful not to jostle Leo as he settles down on his knees.

"Blue," he says softly, gently palming Leo's face this time. "None of this was your fault."

Leo's stomach twists again. He thought he was being punished, but somehow this is worse.

"Yes it was," he argues. "I lost the key," for the third time, "and... and I ignored the order to retreat, and got Raph captured, and and and, I ignored the guys and tried to force our way into Metro Tower, and it was me who told Donnie to try to fly that stupid ship, and because of me Mikey had to-"

"Leonardo," says Splinter, sharp, and Leo goes silent. His dad looks devastated, but he keeps his hand on Leo's cheek, brushing with his thumb, and for the first time Leo realizes his skin is wet. Splinter sighs heavily, his entire frame seeming to droop with the weight of it.

"Leonardo," he repeats, softly this time. "You did not doom the world."

"But-"

A furry finger on his lip quiets him.

"You did not doom the world," Splinter repeats, once again firm and serious. "You did not take the theft of the key seriously, because you did not know what it was, the threat it represented. But it was the Foot Clan who chose to use that key, fully knowing what evil it would unleash. That is not on you, my son. The responsibility falls squarely on them."

Leo doesn't know how much he can believe that - isn't it their job to stop the Foot Clan? But Splinter looks so sure as he says it, and his hand is still tender on Leo's cheek, and for the first time a little bit of doubt seeps into Leo's heart, telling him that maybe, just maybe, this wasn't all his fault after all.

But still...

"Even if that's true," he says, with heavy emphasis on the if, "everything I did after that-"

"You are young," his dad interrupts. "You are inexperienced. You are learning. And the amount of growth you showed us all, even over just that one day... You shined as brightly as I know you can."

Again, Leo's stomach does a twist - but it's a happier one, this time. Splinter's voice is sincere, leaving no room for doubt, and Leo can almost, almost believe that this is true, that his dad has believed in him from the very beginning. Has seen something in him, whatever it was that led him to make Leo the leader, that lead to him putting trust in Leo.

He just wishes he felt like he'd done more to earn it.

"You did not doom the world," says his dad again. "You saved it. But, it never should have been like that to begin with. You should never have been facing down such a fierce foe so young, especially as alone as you boys were. And you-"

His voice becomes choked up, and Leo's heart lurches.

"You... sacrificed yourself to save us all. I... I am your father, and I... could not protect you."

He's crying. His dad is crying, and Leo feels panic, reaching out to try and stop this.

"Dad-"

"No." Splinter holds up a hand, giving his head a hard shake. "All I ever wanted for you boys was to save you from the sacrifices asked of our family. And yet I could not - and for that, you paid dearly. You almost paid the ultimate price, and we almost lost you forever."

A thick knot forms in Leo's throat, and he can barely get out, "I'm okay, Dad, I'm here."

"Yes you are." Splinter squeezes his shoulder desperately. "You are here. You are safe. But that doesn't change that it should not have been you to begin with."

Leo watches in dawning horror as Splinter steps back, then kneels over on the mattress.

"This is why I came in here, Blue. Not to yell at you. To apologize."

He presses his forehead against the sheets.

"I am so sorry that I could not protect you."

He's crying. So is Leo, openly now. He reaches out for his dad, fumbling for his shoulders and urging him to straighten up.

"No, Dad... This wasn't your fault!"

"But-"

"No! It was just... it was just a really, really shitty thing that happened, okay? It was the Foot Clan, and the Krang, but it wasn't- it wasn't..."

Splinter raises his face and looks at him, and suddenly the words he's been trying to get Leo to believe for the last several minutes barrel into him and Leo crumbles.

"...I didn't have to do it," he says.

"No." Splinter gets up, coming closer. "You had nothing to atone for. You did it because you are brave, and you are kind, but this was never yours to fix."

Leo sucks in one harsh breath, then another, and then he's sobbing harder than he ever has in his life, and his dad hugs him tight, his arms warm and his fur soft where Leo buries his face in his shoulder.

All the feelings he's pushed aside - the ones he didn't think he had the right to feel, because he'd had to do it, he had to make up for his mistakes - bubble over, gripping him with grief and despair but also relief, that he's still here to cry and be hugged by his dad.

"I was so scared."

"I know."

"I thought I wouldn't see you guys again."

"I know. We thought we had lost you, too."

"I just... I didn't know what else to do... I couldn't let him... I couldn't..."

"Shhh, it's alright. It's over now. We're all safe."

Leo hugs his dad back, as tightly as he can with his injuries, and sobs and sobs until he's all out of tears. And all along, his dad tells him he is safe, he is good, and he is loved.

Later, Leo feels even better than he had before.

[she-posts-nerdy-stuff]

Something something Inej’s father taught her that only fools are fearless and she must learn how to embrace fear because when it arrives it means something is about to happen something something Dunyasha proudly claims to have been born without fear and when she kills her Inej tells her to learn fear now before she dies something something Dunyasha is Inej’s Shadow something something

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[kimkhimhant]

what i love about neal caffrey is how damn smart he is and that he actually has very little formal education. he's a high school drop out and he's an expert in everything he does. he's one of the most skilled artists in the world – he can perfectly replicate any painting or sculpture he looks at, he can sell any story or product you can name. he can read even the most stone-faced people. he's a genius prodigy in like 20 different areas of expertise.

and it's all so fun until you think about it too deeply. until you start thinking about young over-achiever Neal whose mom doesn't notice him no matter how hard he works or how well he does. eighteen year old homeless neal who needs to be good at everything just to get by.

he's so intelligent, and so emotionally intelligent, and it's just like. okay i'm projecting but. it's so neurodivergent abused/neglected kid. intelligence to him is survival. and it's also how he seeks attention and approval.

that point makes his relationship with peter even more sad – at first, Neal rejoices in the attention, Peter chasing him, the fact that he's good enough at what he does to be a wanted man. but, it's still not the kind of attention he actually wants. like. at first, attention is attention, acknowledgment of his skill is acknowledgment of his skill. but. so often when Peter acknowledges how smart neal is or how good he is at doing something, it's with suspicion or accusation. and that makes me so sad lol

[houseswife]

I love how neferiously hugh laurie delivered his lines in that 5x1 scene where house is blackmailing wilson. because the dialogue could’ve been conveyed in a manner that was obviously facetious and unserious (like the way RSL was playing the scene: “You’d jeopardise a patient—? 😒🙄) but he literally chose to go “If it keeps you here😈👹” in the most deadass, diabolical tone. so the result is that we have house sounding like a genuine psychopath as he threatens to let a woman die and then wilson proving he’s an even BIGGER one by responding with, like, mild exasperation at best. 10/10 dynamic no notes

[glassrunner]

My Top 5:

anonymous asked: top 5 locations in a game of your choice?

[orangesyellow]

a single thread of g o l d tied me to you