#and make THIS one easier to write!

[phoenixiancrystallist]

Month 3, day 2

It's done! I completed the snowman tutorial!! :D

Note to self: apply scaling every time you so much as tweak it lol

No idea what I'm gonna do next. There's a ton of tutorials out there. I could do anything with enough YouTube videos and my signature stubbornness ;D There's some old human modeling tutorials I used to watch... ten years ago? Idk how old Blender is but it was really early on in Blender's development. Anyway I could try following along with those and see what it gets me. But that's a problem for future!Bobbi, right_now!Bobbi is brain fried and just wants to write fanfiction lol

[inkskinned]

i'm still trying to piece together the truth of it. when you left, you said: feel free to spin this narrative however you want. i have no idea if you were being cruel or if you just genuinely don't remember what you've done to me.

it's hard because i'd done so much of the work for you. i had seen the parts that flaked off, the rust underneath. i started separating you into two people - the one i loved, and the one who hurt me. i had this fantasy version of you - my partner - and then i had this stranger, a third person who would show up randomly to shatter me. i am deliriously glad i'm no longer with "the stranger". i miss the gentle (unreal?) "other" you terribly.

at first, i was so strict about my boundaries. i remember telling you to get the fuck out of my house if you were going to talk to me like that. by the end: i would justify your behavior for you, accepting even your mistreatment as "my fault" in the grand scheme. i look back on the person i was before you - smart, independent, confident - and i feel a strange sense of detachment. i don't even recognize me.

even in one of our last conversations, you said: if you want a partner that always talks warmly to you, find someone else. there was a time that a comment like that would have made me leave. and instead, somehow, i just placidly accepted that kind of thing. you were literally telling me that i wasn't allowed to have a reaction to your cruelty - and i just took it, because you'd so fully turned things around on me.

when people are faced with irrationality, a rational brain tries to make sense of it. this is the trap. they're lovely in the morning, gentle and blue-eyed and sweet. like nothing even happened, they breeze around the house and kiss you on the mouth. but at night; who is that? they snap almost randomly; flying into an impotent rage about just-about-anything. it just doesn't make sense. so the problem must be me, and my brain, and how i think.

the traumatized brain just wants peace. so maybe i'm misremembering. maybe you were just having a bad day. maybe it's actually me.

you eventually would fully turn on me and start implying that i am the bad actor in our relationship. that's what happens, right? that's literally in the playbook. you went to therapy for all of a month, told her a half-truth, co-opted therapyspeak. you figured out how to reframe your actions as "seeking peace." any time i stood my ground, i was "gaslighting." when i asked you to be more gentle, you said i was "tone policing." you said, randomly, i had emotionally manipulated you - i still have no idea what that's even specifically referring to. maybe my consistent requests for calmness and empathy?

and while i literally know better, and i'm sitting here, trained by you, thinking: wait, fuck. was i actually the person you made me out to be?

and the thing that scares me is that i literally do not know if you ever actually saw what you were doing to me. when you'd tell me how you remember arguments, you'd always summarize them in a way where you come off as gentle and easy: "i was trying to set an important boundary." what had actually happened was 15 minutes of you shouting at me i know you did something shady, just admit it already. eventually you'd say my reaction to your shouting (when i finally reacted, which usually happened around hour three) was inevitably "disappointing" and "another way i'm silencing your feelings."

how many times did i ask you - beg you - to just take accountability? looking back, i don't think i ever heard you say: you're right. the way i talked to you was wrong of me.

i am trying to tie together the two people into a full version of you in my head. yes, you made my coffee and made me laugh and spent hours on the phone with me. and yes - you would scream at me until i had to run away and hide behind something.

i wish i did have a narrative i could pull out and shape to my whim. i wish i did have some semblance of reality. instead i just stand here, strange and vibrating, wondering: what the fuck just happened?

[whumpitisthen]

Characters that are out of it. Cannot see past their anger, their fear, their conditioning, their confusion. Maybe they're drugged, maybe not. I need to see some characters so completely lost and causing problems, be it a whumpee begging their caretaker not to hurt them because they think they're still with whumper, or whumper seeing red and going too far even for them, or even caretaker having their own issues and not being able to properly caretake and scaring or even hurting whumpee.

Put your characters into the spin cycle. Confuse them!! Make them lose sight of their surroundings and make them do shit that makes no sense!!! Make sure they hurt someone they didn't intend to!!! Confused crying!!!!!!! Do it!! To them!!!

[sparticus2000art]

Revisiting my nightmare design and giving him another outfit for fun!

Also some practice with expressions based on the expression sheet by @/capochiino because I need to work on drawing faces more expressively-

I’m not quite there yet, but it’s not doing terribly I think…

Nightmare was made by jokublog

I also drew this cause I wanted to explore a better dressed nightmare- personality wise I feel like it makes more sense to have him be a bit more extravagant or well put together than his cannon design with just the hoodie.

For my own interpretation of him, I feel like it would be interesting to approach his character in a way where he does both- the more elaborate or fancy outfits preferably, but the hoodie fit as more of a crutch for when he needs it, linking his outward expression and appearance to his stability and control over his own emotions/ the corruption.

I think when he first turned, the corruption would’ve made him quite unstable emotionally, and taken away a lot of control- being visually represented by it soaking through and staining all of his clothes to be the same colour as the corruption itself. Kinda showing him being overwhelmed by the new influence. But the more comfortable he becomes, the better he’s able to manage the new state, giving him the opportunity to do things more to his own taste.

This also allows him to experiment with adding some pops of colour to his clothes, though he’d still stick to darker tones to protect his pride- so that it’s not as obvious when his control lapses and the corruption seeps through to contaminate the garments. On particularly bad days he’d revert to his cannon clothing, both to save the clothes he likes from being tarnished, but also as a way to seek comfort.

I’m not sure if I explained that super well lol, but those are kinda my personal head cannons.

[denim-wizard]

Sanji vs homerotic relationships with big cat coded men

[cozylittleartblog]

9th annual nick valentines day (ft. soup again) + doodle i made last year that i forgot about, from when bethesda gave us that free update

[rainee-chu]

My dumb nullstat comics because I think they’re so funny

[lieutenant-amuel]

I’ve read a lot of posts about Lilo and Stitch 2025 and I see the topic of Pleakley’s cross-dressing being brought up quite often.

I haven’t watched the remake and I doubt I will so my goal is not to compare Pleakley from the animated movie(s) with Pleakley from the live action. I just want to share some of my thoughts on this topic too because Lilo and Stitch has always been one of my most favourite Disney franchises with Pleakley being one of my most favourite characters of all time, not to mention I’m getting into this franchise again so I’m starting to have more to say about it.

Just note that those are only my thoughts that I decided to share so I’m not claiming to be a Pleakley expert or anything and I’m sorry if I’ve worded anything wrong.

One of the takes made in favour of Pleakley NOT cross-dressing in the live action is that him disguising as a woman is taken more as a joke and hence seems offensive to trans people. I’m not going to deny that it was definitely used for a comic effect in some scenes but I think it’s also fair to point out that Pleakley seems to be genuinely interested in feminine clothes and feminine looks in general. Otherwise he wouldn’t put on a wig and admire himself in the mirror (or even keep the wig after he didn’t need his disguise anymore) in the campsite scene.

Is it a minor detail? I’d say yes. But it does imply that Pleakley is interested in feminine clothes and this is why it’s grown into such a significant part of his character in the next movies and in the series.

Pleakley is an Earth expert, and he’s spent many years of his life studying this planet and familiarizing himself with its customs and traditions (which we see A LOT in the series, from Pleakley doing yoga to singing Christmas carols), and there’s no wonder Pleakley would get interested in the Earth attire as well. I don’t remember where I read it but I’m pretty sure Pleakley didn’t even know that clothes he took in the og movie were feminine* so it only kindled his interest. It’s unknown, and it makes it exciting.

An interesting thing I find about Pleakley’s character is that despite leaning towards feminine clothes and clearly favouring them (and even disguising as Lilo’s aunt on Earth) he doesn’t stop wearing masculine clothes. He wears them both depending on his mood, and nobody comments on his preferences.

One of the episodes from Lilo and Stitch: the Series that really stood out for me in regards of Pleakley’s identity and the way other people/aliens treat it is the episode Nosy, the one about an experiment that reveals secrets and loves gossiping.

We learn that Keoni, Lilo’s crush, has a crush on Pleakley, and when Nosy reveals that Pleakley is not a woman, the first thing Keoni does is asking Lilo about Pleakley to make sure he’s indeed not a woman. What is his reaction after this confirmation? He’s just glad that it was revealed because yeah, he’s a simple straight guy (who’s also much younger than Pleakley but this is not what we’re talking about now).

Keoni never asks why Pleakley, a male, would even wear dresses, have long hair, and call himself an aunt. As I mentioned above, literally nobody in the series (and also in movies) cares about the way Pleakley dresses. They never asked him to explain or God forbid justify his preferences.

They’re cool with it, and it makes Pleakley’s presence in the franchise as natural and genuine as possible because the way he dresses is not his whole character, this is something that blends neatly with his other traits to make him a memorable and compelling character.

As I said in the beginning, I haven’t watched the remake so I have no idea how they pulled off the rest of Pleakley’s character but I’m one of those people who’s convinced that Pleakley (read: an Earth expert who was sent to that very planet, getting a chance to learn more about its customs and traditions and accidentally stumbling across Earth feminine clothes just to embrace it as a way of self-expression and find comfort in it) is not Pleakley without cross-dressing.

*Added some more thoughts on it in the tags because those are mostly me thinking out loud and I wouldn’t want to ruin the structure of my “essay” with random babbles.

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[24hrsoda]

“I wish you would write a fic where...“ras smooches bruce c:

i deleted the prompt post cuz i thought no one gaf about it but yknw i will humor you dear anon

————

Ra’s understood that every life was sacred, but only few deserved to be saved. Even fewer a number deserved to recommence.

He took a moment to revel in the sight of the swirling green pit before him, always in awe of his own creation, even after all these years. The warm vapors rising from its surface were a stark contrast to the cold body beside him.

How he wished it hadn’t come to this…

There are things that must be done to ensure the progression of the world aligns with the Mission. Death is inevitable, sometimes it’s necessary. He held faith that Bruce would eventually grow to understand this.

Ra’s glanced down at Bruce’s body. Blood stains and tattered suit aside, Bruce looked at peace, as if he were sleeping instead of dead, curled in a fetal position.

At Ra’s’ instruction, the Shadows had buried Bruce in a pit of snow to preserve him. It was unnecessary, as the Lazarus Pit could heal more than a few weeks’ worth of death, but Ra’s had done it out of respect. Batman was not a foe you leave to rot.

He shifted, gathering Bruce’s body in to his arms. The clumps of ice clinging to Bruce’s hair were cold against Ra’s’ nose and lips as he pressed the lightest kiss atop Bruce’s head.

“I am sorry,” he apologized. Not for what had happened, but for what he was about to do.

The pit welcomed Bruce’s body as Ra’s carefully lowered him in before standing.

The water inside the pit gurgled and bubbled, hungrily dragging Bruce down beneath the surface, and Ra’s braced himself to fight the rage-filled beast that would emerge in his place.

Despite the gruesome nature of the situation, Ra’s couldn’t help but smirk as Bruce breached the water’s surface rapidly.

Every life was sacred. Few deserved to be saved. And even fewer a number deserved to recommence.

[audliminal]

It's Just a Game, Right? Pt 9

Masterpost

"Well, it certainly looks like your suspicions were correct." Tim says, staring at the decoded response, as Bernard posts the plain text.

"Yeah, it definitely looks like it, huh? This is practically an entire clue drop in and of itself."

"I mean, it kind of is. If they wanted to encourage us, al they really would've needed is to parrot themselves with the 'dig deeper' thing you said you kept finding."

"Ha, yeah that would've been a little more succinct." Bernard laughs, and turns back towards Tim as he finishes typing. "So what else is it meant to do, then?"

"Well, on one level it shows us how the clues are supposed to be solved." Tim says, pointing to the steps they'd gone through. "In the future, we should be looking for the keys to each step in the solution of the prior step."

"They can't just do that every time, though. It'd get too predictable.

"Maybe not every time, but it definitely gives us a better idea of where to start."

"Yeah, I guess it can't hurt to look. Anything else, Mr. Genius?"

"I'm not a genius."

"You totally are, but whatever. Tell me more of your mad science thinking."

"Not a mad scientist either. I think we need to start looking at whether individual details are intended to be taken literally or metaphorically."

"Oh." Bernard blinks, then glances over at his computer.

"Did you think of something?" Tim asks. The implications of the response are sprawling by itself, but if the contents are referencing something Bernard's already seen...

"Well, it's just. The first video was pictures, right? And people take photos of stuff they wanna remember so, like. To be seen is to be remembered?"

"That... Makes sense." Tim murmurs.

"Yeah, but it doesn't explain what the rest is about."

"One step at a time. If the people in the first video are our messengers, and they're concerned with being remembered, then I think we should be looking for more information on who they are."

"Right. So I should pull out the clues that reference them, and we can go over those next?

"Sounds like a plan."

[habitual-truant]

as a persona fan. i HATE atlus. like, theyre always SOOOO close to having really good social commentary on like, pretty much anything in general i guess. but. they pussy out and it has the opposite effect!! like, biggest example that i actually have well formulated thoughts over is persona 4.. i wrote a long ass essay type thing that id honestly like to rewrite now that my thoughts are more solidified on this but, tl;dr… :

kanji isnt gay and naoto isnt trans. kanji’s story is about accepting that hes got feminine traits and learning to stop internalizing what everyone says about him to be true. naoto’s is about accepting that she is a girl, and she IS everything that people look down on her for, and learning to stop rejecting herself just so she isnt disrespected and dismissed by others.

kanji isnt gay and naoto isnt trans, but they should have been. being queer is very obviously a theme in their stories, and without looking deeper into the characters and their arcs, on the surface level, the story is saying that they’re learning to accept that they ARENT queer. which is pretty clearly homophobic and transphobic.

the entire game is about accepting yourself for who you truly are. for the character that is EXPLICITLY stated to be gay and for the character who EXPLICITLY lives socially as a male despite being born a girl to both have their true selves actually be “normal” is… counterintuitive. while it does fit within the theme of accepting yourself, it’s saying to accept yourself as “normal” and “correct”, not as someone who doesnt fit into societal norms. it undermines the idea of being true to yourself. it’s SO close to being a great message that anyone, no matter who they are, can relate to, but it singles out the unusuals, the people who really need to hear that it’s ok to be whoever you are. i could go on and on about how it’s honestly impressive that the writers managed to miss the mark by such a small amount that it ends up completely undermining the entire thing, but it would be redundant (just like my use of the word ‘undermine’ within two run-on sentences..), and i want to take this back to my original point

the writers at atlus are very, very skilled. its amazing, i really really respect them. but at the same time, i think that their ability to write amazing characters and themes and weave them together into a universe with such inconsistent rules is exactly what makes this so infuriating. i KNOW they’re 100% capable of not being misogynistic in their portrayal of women, i KNOW they’re capable of not being homophobic, i KNOW they can take topics like misogyny and homophobia and transphobia and explore the reasoning behind why people are close minded and hateful, and how it affects people who are at the receiving end of the hatred.

but they dont, because either the writers themselves are prejudiced, or what i think is faaaarrr more likely, the executives think it’s too “risky” to talk about and criticize bigotry, and that they want it to be as palatable to everyone as possible. unfortunately that means no gay people, no trans people, no “controversial” minorities in general.. sure, we can have a few complex and well written women as a treat, but they either have to be fanservice or largely irrelevant to the rest of the plot.

no conclusion paragraph this isnt english class

thanks if u read my 11:00 pm hyperfocus fueled rant i am sending you joy and happiness and good things

[slasherflicks999]

erm what is slashers relationship with the other creepypastas :3c

before we begin im so sorry this took me legitimately SOOOO disgustingly long to answer holy SHART 💔💔💔 i needed to solidify some of his relationships ngl and i didn’t wanna give a half baked answer :,33 but now that it’s finally hereee…..

slasher room reveal GASP yes he’s sitting at his little computer answering this for u personally :3 i wanted to make it more fun hehe plus background practice…… thank u the sims 4…,,.,,

but anyway THE LITTLE CHIBI THINGS OF THEM WERE SO FUN TO DRAW and also nina with glasses canon i don’t make the rules sorry she’s just too cute with them :,,o

i haven’t been active much at all lately unfortunately BUTTTT more slasher content is soon to come..,.😈😈 TRUSTTTT i shan’t abandon thee tumblr my beloved :333🫶🏻

[crossthread]

No jokes here. The Navy’s best pilot and the Navy’s best admiral. Between them, eight air-to-air combat kills and five stars. These were men who commanded respect with or without your approval. This was the picture of ruthless competence.

Debriefing (& Other Stories) • part 2 of Easier Done Than Said by @compacflt

[fireintheimpala]

1979 is now up there with 1968 in my “WHAT THE HELL HAPPENED BETWEEN PAUL MCCARTNEY AND JOHN LENNON” years.

You don’t just make something as joyful, teasing, naughty, and romantic as McCartney II out of the blue… You don’t just then come out of retirement out of the blue and starting boogying to Double Fantasy + Milk and Honey tracks COINCIDENTALLY, do you? DO YOU??

This is driving me a little crazy. What is your favorite conspiracy theory here?

[blenselche]

Pennsilfaanisch Deitsch Miku on Marickdaag (or heading to KU folk fest, whichever does it for you) for that cultural Miku exchange.

("It's a nice day, isn't it?" in Pennsylvania German/die Mudderschprooch)