#Wolves Around Me

[ciil]

he is touching vik’s lil mole above his lip :3

[clumsypuppy]

my attempt at making a fursona

[blinksalot]

the inflexible ethical standards of warrior cats roleplay

[ricketycr1cks]

And if I say Mac grew up equating love to cigarette burns and absent fathers and getting told to toughen up, that Mac doesn’t understand love that isn’t conditional, love without equal parts hate or distaste, that never in his life has Mac understood earnest love, that even though Dennis isn’t trying to, he often ends up re-confirming this idea in Macs head, that love is hatred, that-

[parking-spot]

Listened to re:dracula for the first time today so I could get today’s dracula daily while doing garden work and I can’t believe I never listened to it sooner. The sounds r so atmospheric and I love hearing the way Jonathan’s commentary is said out loud, it changes the way I interpret some things

[beanbagbuddies4life]

Mary Meyer Coyote & Wolf from 1994

via x + x

[yuesya]

Every child born in Mondstadt has heard the stories: That beasts are the enemy of humans, monstrous beings that will eagerly tear flesh from bone and revel in bloodshed. It’s why they must be grateful for Lord Decarabian’s protection, for the god had granted sanctuary to those who sought to escape from the gaping maws of voracious beasts.

But Ventus finds that the truth is not entirely as the stories say.

…

It had been difficult, finding a way to escape through the eternal wind barrier. But Ventus had been left with little choice. There was no word from Knight-Captain Kairos who’d promised to directly petition Lord Decarabian, and Ventus couldn’t just sit on his hands and do nothing.

If the key to dispelling the wind barriers lies in resolving the age-old conflict between man and beast, then they need to address the root of the issue at its source.

Ventus needed to travel to Wolvendom, the frozen land of running wolves, ruled by Andrius the King of Beasts.

‘Suicidal’ and ‘mad’ were the terms that Gunnhildr used to describe him, before she stubbornly insisting on following him. Someone needs to keep an eye out for a reckless idiot like you. Were it not for Barbatos, they would’ve been ripped to shreds the moment they set foot into the wind barrier –Ventus still doesn’t know how they managed to make it through in one piece, honestly.

… But somehow, they made it.

Wolvendom was different from what they imagined. There was a wild air to it all, but it wasn’t a land of lawless slaughter and cruelty. Ventus has seen both the ruthless manner in which enemies were left to bleed out on the ground, and the fierce loyalty of pack and family.

Ventus has always known Decarabian as the Hunter. But among the wolves, Decarabian is the Slayer.

“You. Children of Slayer. Not welcome.”

Decarabian kills any beast that trespasses upon Mondstadt territory. Yet much to Ventus’ astonishment, there are humans in Wolvendom. Humans who’d been abandoned as children, and raised by wolves. Which… leaves a complicated feeling in his chest, but also a tremulous thread of hope.

Maybe, there’s a way for peaceful coexistence between man and beast.

…

It’s not easy to earn the wolves’ trust, but in the end, Ventus and his friends stand before the Dominator of Wolves. A towering, majestic wolf, with a midnight-blue pelt, that stands within a cavern of ice as its throne. The pressure that it exudes is heavy and suffocating, and there is a single instant when Ventus almost thinks that the god is about to kill them on the spot before listening to a single word they have to say.

“Ventus. Friend. Want to talk.”

Claw steps in front of them protectively, speaking on their behalf –and is very nearly branded a traitor for it.

But they manage to prove themselves, both in strength and resolve, and the god allows them to speak.

Ventus talks about his desire for peace, cooperation, a brighter future. Idealistic, perhaps, but the ongoing war between the gods benefits no one. Mondstadt slowly withers from isolation behind the wind barrier, while Wolvendom is gradually, quietly freezing to death. Ventus had met Claw when his pack was in the midst of fending off a rival pack that sought to claim their territory for the fire-rock cave that they possessed.

The wolf god’s lip curls.

You speak on behalf of your god, seeking peace?

“Er…” Ventus awkwardly scratches his head. “Better to ask forgiveness than permission, I guess? But Lord Decarabian has ever acted to the benefit of the people, and I am certain that it is only the still-present threat of war that causes them to–”

Foolish, ignorant child of man. On behalf of the wolf-children whose trust and goodwill you have earned, I will enlighten you: The god that currently rules Mondstadt... is not Decarabian.

[hayaku14]

begging toichi to stay dead and stop using the spade symbol, that symbol is for your son's boyfie!!!! stop playing around as kaitou corbeau and just be dead pls!!!!

[spicyraeman]

wish temperament wasn't a hidden feature in red dead, god the things I would do for a horse that didn't shit its pants at the sight of a snake

[takaraphoenix]

It is both funny and frustrating to me how predictable my unpredictability is becoming.

(My fic.)

(It's running away.)

(I'm running after it.)

[idontmindifuforgetme]

What is a girl to do if she’s bad at driving but driving is literally relaxing to her

[lilleputtu]

That Terra sure can Prety...

[thangyus]

the problem with being in fandom is that sometimes i can't decide if i want to write fanfic or make an edit or read fanfic or rewatch the source material or scroll thru the tag on tumblr and the decision paralysis gets to bad that i just end up sitting and staring at the wall and doing nothing

[902186]

thinking about kurapika and chrollo and parallels and this circle of horrors where they are the victims AND the tools of their fates.

they both think they are neither or more like they don't care about it at all. they don't see themselves as victims, and they see absolutely no other way to live other than this role they took upon themselves. kurapika had such a strong sense of identity and what he wanted to do with his life and understands himself perfectly at all times. he was a part of his clan, but he was more an individual than anything else. kuroro, on the other hand, never knowing, never thinking what his motives are, deliberately not understanding himself and desperately holding on to the spider. he can't be an individual but with others, he can be the spider.

and for both of them, it all started on vengeance. kurapika abandoned himself in order to become a tool, a weapon, to avenge his clan, and to collect scarlet eyes. he stopped being himself and became his people. kuroro didn't know his family, didn't know where he actually came from, didn't know who he was or what he was supposed to be. so growing up in meteor city, he held on to his people strongly. and in order to avenge and protect his people, he would become a tool, a weapon, he would give himself to them. he started being himself as he became his people.

kuroro could be something for his people. and kurapika could be nothing for his people.

kurapika took on the role of judgement for vengeance. kuroro took on the role of villain for vengeance. kurapika acted his part by diminishing everything he was, and kuroro acted his part by filling up his identity with it.

but one thing stays clear and fixed with them throughout it all. they would do anything for their people. for whomever they consider their people. "he'll put his friends before his mission." a weakness kuroro sees in kurapika so quickly and so easily. but the same thing he considers a strength in himself. "i am not your top priority. it is the spider that must be kept alive." as long as his people are alive, his identity will live on. and as long as kurapika is alive, his people’s identity will live on.

"now you will get to experience the pain of losing your home." kuroro (and the spiders) killing the kurta clan set this parallel in motion for himself as the circle began for kurapika. and (speculatively) kurta clan hurting his people was what set the circle in motion for kuroro, too. now thinking about where they are in the story and how their end could be, it is very clear that they are finally ending up in a place where they mirror each other (as they have from the beginning) and they can recognise it in each other and themselves. kurapika ending up empty after his mission and kuroro ending up empty after losing spiders. both of them purposeless and with no self left outside of it. in a way, this is how the circle ends. "i can hear that he accepted death." they walk with death every day with no fear and full acceptance and after losing the only thing they live for, not even something they hold on to because they don't see a point in being alive outside of the fact that they must keep going for their people, for their purpose, and if not then there's no reason to exist, they are meaningless.

kuroro's vengeance left kurapika all alone, with everyone he knew dead, and feeling hollow at the end. by fate, he ended up all alone, with everyone he knew dead and feeling hollow at the end.

and at that point, they will have to start a new page and build a new self for themselves.

[devilsskettle]

i’m kind of bored that the be-all end-all of horror sfx is realism. i would much rather see less realistic sfx that focus on visual interest/design and i really admire creative problem solving to achieve a particular effect, and i think the focus on realism makes it harder for low budget filmmaking to have a shot at being made and/or respected. i don’t think this is an uncommon opinion either but i think there’s just this prevailing assumption that films should represent reality and that that’s what audiences want and even when you’re making a movie that’s already based on an unrealistic premise as is often the case in genre fiction, if your movie doesn’t seem realistic, audiences won’t be able to suspend their disbelief and/or they won’t take the movie seriously. and sometimes this does seem to be the case! but also i wish we could all give each other the benefit of the doubt that audiences are able to recognize and engage with unreality in fiction. because it’s fiction. and that unreality in fiction can be intentional on the part of the filmmaker and can be done well and in fact be the correct choice for the movie overall. not that i want no realism ever but i don’t think it should be the only acceptable mode of filmmaking