#apologies for any incoherence

[eggbem]

My version of the TMNT! I drew this a while ago and I don't really have much content for it, but I like how the designs came out :)

I based the designs largely off of the 2012, Rise, and Mutant Mayhem/Tales versions.

Closer looks at their shells plus extra details under the cut ↓

This is mostly gonna be a disorganized brain dump, but here we go:

So the working title for this version is "April's Turtlez" (the 'z' is from a typo i never bothered to correct). In this version, April is, like, 9 or 10, having been found by Splinter when she was just a toddler and raised with the turtles as her big brothers.

One focus of their story: Donnie would be the leader for a while before Leo takes over. It's focused less on Leo coming into his skills as a leader and more on Donnie giving up obsessive control in the team. It's about learning to start recognizing your younger siblings as peers rather than children.

Another focus: April would be trying to tag along with her big brothers while they take on dangerous villains, documenting the fights with her camera. It's too dangerous for her to begin with, but she learns lessons and hones her sneaking skills and eventually becomes a valuable asset to the team, as an emergency contact, "eyes-in-the-sky" and play-by-play analyst.

For personalities and traits, I stole a lot from various TMNTs, sometimes directly, sometimes indirectly. Did you know that Leo is a fan of pineapple on pizza in more than one iteration? Both in Rise and The Last Ronin at least! (maybe more, I can't think of any others rn). And Donnie and Raph's phobias are loosely based on their Rise and 2012 counterparts respectively.

I have a sparse Pinterest board (note: VERY SPARSE) for the concepts if anyone's interested :)

[web-of-arachne]

“431; or, queer loneliness”

unknown // emily palermo, what I could never confess without some bravado // good luck, babe! - chappell roan // unknown // unknown // jenny slate, little weirds // dr. seuss, oh the places you’ll go // unknown

[merakiorder]

i just had the most buckwild fucking thought. this is how petey nation can still win

okay so in season one when Cobel recovers Petey's chip, she says "that's Petey". we don't really know how the chip works, but the idea that it might hold an aspect of a severed person's memories or personality isn't the most far out concept.

Now let's consider Gemma/Ms. Casey. There are a TON of theories about her, with some theorizing they essentially reconstructed her. An innie without an outie. Do you see where I'm going with this?

All I'm saying is that maybe there's a chance, if shit REALLY hit the fan, that Lumon could "rehire" petey by some means as a last ditch effort to chill mark out- or at the VERY least keep him from leaving.

[arson-is-chill-actually]

So. Episode 11, Huh

Spoilers Ahead!!!

I HAVE SO MANY THOUGHTS HOLY SHIT

I watched it at like 8 right after I got up and I was not mentally prepared AT ALL.

There is a lot of stuff revealed in this episode and there is a lot of discussion to be had, but I hade one brain-melting thought that I need to subject to the rest of you.

Because now we know that Chosen and Vic each symbolize to each other their own perceptions of Alan as their creator and as a person.

For Vic, Alan and what he did is a constant presence and weight on their mind. Their creator and God who entertained himself through their suffering and death, constantly bringing them back just for a new round of torture. The one who held every scrap of power and ruined Vic's existence just because he could.

Vic escaping was a fluke. They were never meant to leave the PC, and they were haunted by Alan for years, the pain of the past never subsiding, just fading into the background. Then they lose their anchor, and likely dozens of others who they care for. Once again their past rears its ugly head, all of it caused by the selfish actions of one strong enough to be considered a god.

But what's a god to a nonbeliever? So what if they could lose everything if they went down this path? They had noting left to lose. When he finally got Chosen into the box, I doubt that they saw a stick figure. Because what Chosen represents is the source of every cursor imagined in the reflection, every sleepless night, every bruise and cut and scar removed when their body was revived.

For Chosen, Alan may be his creator and captor, but he is no god. Chosen had the ability to properly fight back against Alan, and in a fair fight Chosen likely would have won. But it wasn't a fair fight. It was never going to be a fair fight. And he lost.

While Chosen never forced through the same kind of suffering as Victim, isolation is a kind of torture in its own right. He probably grew desperate, pleading to the one who chained him just for something to ease the loneliness. It's no wonder it took him so long to finally say no to Dark. How could he possibly risk losing the only person to ever be kind to him when he knew the suffocating pain of loneliness?

Vic knew that they were being used for Alan's entertainment. But Chosen? All he ever knew was that he was being used. He never knew the "why" behind Alan's actions, and he still doesn't. And he doesn't know they why behind Vic's actions, either. Why they were hunting him down. Why they were taking away his only source of protection, why they wanted to know about Alan so badly.

Why they were so stunned seeing Second's powers.

Second is different from them. Because Second is the only one of Alan's creations that has seen him change. Has seen him grow.

Chosen never saw how much Alan changed. He never wanted any kind of relationship with him after he left the PC with Dark. He stopped the virabot to prevent it from spreading, not to save Alan. He went to the PC not for Alan's help, but for Second's. He doesn't want to be involved or associated with Alan anymore.

Vic just doesn't care. They want vengeance on a version of Alan that doesn't exist anymore and they couldn't care less.

But Second knows that they should. Second knows about the lives that would be caught in the crossfire if Vic continues. Lives that already have been caught in the crossfire once before.

Eventually Vic's story is going to come to light, it has to for this to end. But Vic is going to have to hear Second's and Chosen's stories as well. And they won't forgive Alan. But they will move on.

Because moving on is the only true way to move forward.

[uhbasicallyjustmilex]

miles kane saying “you cunt”

[hinamie]

do u have any tips for uhh idk art term....highlight and contour but for art? specifically w digital art? w pencil and paper it feels super intuitive but then when i switch to digital it looks all flat.............

(is it shading? idk what im doing tbsh)

(also hope ur doing well i feel like im crawling into ur asks every two days or smth looking for art tips sorry T_T)

(yuuji comic made me cry so hard btw)

hi rin!!!!!!! that wld be shading/rendering yes hgbhgfjs there’s no One specific term tho so ur all good <3 also omg re: the yuuji comic IM SORRY I KEEP MAKING U CRY GHJKGJDSGHKJ its ok i made a lot of people cry if the death wishes/pos in the tags are anything 2 go by so ur in good company :D i teared up also

i would Also like to apologize in advance because fr me this is one of those Art Things that becomes more intuitive the more u do it so i am a bit. lost as 2 how to explain but i will sukuna voice ganbare ganbare !!!!

it’s all about light sources babes so pick a direction where the light is hitting from and use that as your main point of reference. If u need to remind yourself where the light is coming from i was taught to draw a lil arrow or sun somewhere on your canvas 2 keep track . areas closest to the light or planes that are more Elevated will be brighter than areas farther away or Deeper. When u think of a face, the forehead and cheeks rest Higher than fr example, the eye sockets, so those areas will catch more light and appear brighter. it /is/ kind of like makeup in that way. 

also, shadows/highlights can have soft or hard edges depending on how . uh . intense, i guess?? the angle of the light is. like with a box vs a sphere, the former will have a lot more Cut and Defined areas of darkness because the plane where light hits is cut off more directly by the presence of a corner, whereas with a sphere the Slope means that the values follow more of a gradient. 

tbh tho if you’re still starting out, to practice light sources and shading it actually might be good to scribble and shade some 3D shapes and spheres/boxes or maybe even draw from life so u can really take time 2 pay attn to how light catches different surfaces . it’s boring work but the practice is never wasted !! lighting can be tricky so try and take the time 2 form Good habits :'> references r ur friends here now more than ever.

other than that, which i feel more or less covers the basics n fundamentals, my wisdoms 2 u and any1 else who will have it: INVEST TIME IN2 FINDING GOOD BRUSHES omg i feel like a lot of that New Artist Look (tm) comes from using default brushes —which on its own is fine, but the kicker is not taking time to get comfortable with how to make the best use of them. the fun of the render is getting to play with textures and colours so find some brush settings that help add a bit of personality!! also . resist defaulting 2 the airbrush tool to shade it Rarely cooperates and can muddy a piece. uhhhh what else what else try not to shade with black for the same reasons ???? i'm scraping the bottom of the barrel here but i hope something here was of any value :'>>

[cornmazehater]

someone needs to take jenna and fli as a whole away from me this game is feeding the autism demons

every song I recognize in game is another song I need to listen to in it's entirety and then need to weave it into Jenna's backstory

also I keep getting jumpscared by bosses. I have never been so back

[applefelmier]

apparently, there are people who are completely hating on lg for what he did in the finale and i’m just so confused??? i mean, it’s so evident that he deeply cares for cxs and wants to protect him. i’m sure that’s why lg established those rules to ensure that cxs wouldn’t get harmed when he dives. “well, he’s a hypocrite for breaking those rules and now the timeline is fucked up because of him. he’s so selfish” he’s human. he’s flawed. he just wanted to save the person he loves (platonically or romantically, it doesn’t matter). personally, if i were able time travel like lg, i’d also go back in time to prevent the person i love from dying, consequences be damned. lg is just a human being. we can be selfish to fulfill our own desires. we sometimes turn our backs on our own beliefs to protect something or someone we care about. being selfish, becoming a betrayer of our own beliefs to protect someone…those things don’t make us terrible people. those things just make us realize we’re human, riddled with imperfections and that’s what lg is: a human being.

[cloudyydraws]

Your art is so gorgeous!! I love the painted style, it looks like it would be right at home in a fancy frame hanging up on the wall. How many hours typically go into one of your finished pieces?

ahhh omg thank you so much anon!!!!! ⸜(*ˊᗜˋ*)⸝

Typically, a single subject piece with no background can range anywhere from 3-10+ hrs depending on how much rendering i feel like doing!

The Bloomfes Kanade piece took around ~8ish hours in total (granted i started the upperbody when it got leaked and finished it up the day after the full card came out)

The An + Kohane WTWG took ~8hrs as well, but here's a slight comparison in rendering for abt 1~1.5hrs worth of work in the middle of the process if you're interested:

I also change up my workflow sometimes, like anhane (not including the bg) was all on 1 layer on this one w/ a barely passable sketch + i just started slapping colors together with kanade's on 1 layer

But smaller things like my 2 ocs took around 3hrs since I wanted to keep it simple ! It only took a little longer than I expected since I was using it to test out some brushes

[shsl-heck]

So because I've seen it compared to Worm, I started reading The Boys by Garth Ennis. It's bad! Like really bad! It feels like what would happen if you let an edgy anti-feminist atheist youtuber from 2015 write a comic book. I finished the first volume of the omnibus in large part because it was a train wreck I couldn't look away from, and am debating starting the second since I hate myself. The most interesting parts are actually the little forewords. Through them I learned both that it was supposed to be a comedy, and also a critique of the military industrial complex/police (or at least that people read it as one). This was surprising to me since it is neither funny nor incisive. Anyway, now I want to ramble incoherently about my problems with it because this goddamn comic broke my brain.

Okay, so one of the most common ways it shows you which characters you aren't supposed to like is by having them do comically "gross" sex stuff. Notable examples include cocaine fueled orgies, mentions of shitting during sex, bestiality, masturbating in public to the sight of disabled people, and a little person using sex toys. One that shows up repeatedly in this context is characters being bisexual or gay. Now, I don't wanna get controversial, but I think any claims that your work is a critique of capitalism, police, the military, or whatever are rendered moot when your villains are a group of secret hedonistic sex-freaks. Like we can't pretend that doesn't sound a lot like regressives and their obsession with "degeneracy". Sexual assaults, misogyny, and slurs also appear pretty often, mostly as the punch line for jokes. Victims are rendered down into objects and denied any sense of interiority so we can instead focus on what really matters (gore porn, and middle school 4chan posters' sense of humor). Never once does Ennis deign to explore the actual impact and trauma of these things, or ask why he views these things as material for jokes.

That incuriosity is I think the real problem with The Boys. There is no actual coherent thought about why things are bad. Superheroes hurt people and are wrong because of their personal moral failings as selfish perverts, not because their whole job is to violently enforce the will of the state. It's like if someone agreed that all cops are bastards, but only because all cops just so happened to be "bad apples". The main characters literally work for the fucking CIA, and yes, I know the titular Boys are at best meant to be anti-heroes a la the Punisher. My issue here isn't that they're hypocrites who are frequently also horrible. It's that this premise for is absolute nonsense if you think for half a second. Superheroes do not function without the legitimacy granted to them by the state and it's monopoly on violence, so why would the CIA need these 5 randos with zero oversight working to take out the supers? Is the force Homelander and the others can bring to bear so great that even the apparatus of that state can't deal with them? If so, why does this group of assholes change that? Normally I'd be willing to give the story a lot more of a pass when it comes to questions like this, except I'm being told that this story has things to say about systemic problems involving the government and corporations! So I have to ask, where? Where is the commentary? What does it actually have to say about the state of the world circa 2006-2012? The only answer I can come up with is "not a whole lot". It's a story which dares to ask the tough questions like "what if the world was made of pudding" and then ignore answering those questions so it can instead recite Ellis' favorite slurs in alphabetical order while showing you a woman's tits.

On a lighter note, it's also just not very good. The plot (as mentioned) falls apart under any amount of scrutiny, pacing is bizarre in a bad way, the characters aren't compelling, themes remains stubbornly unexplored, and Ellis is allergic to doing anything interesting or creative with the premise he's decided to base a whole comic around. I genuinely do not know what people enjoy(ed) about this comic.

[monards]

i genuinely can’t remember anything from June but this one text exchange i had while under anesthesia sums it up pretty well. i think.

[thedevotionaltour]

On their first night rooming together, Matt and Foggy found it extremely funny that they had both planned on going into law before joining Starfleet. 

Foggy told his roommate how he got through one year of undergrad before feeling bizarrely unsatisfied, and terribly lost, because he'd been planning on that for the past four years of his life. When trying to figure out what he wanted to do at the end of his second semester (as he had felt the gut wrenching realization around midterms that this didn't feel quite right or worth it), a friend had called Foggy up to catch up, telling him about how their time at the academy was going. Foggy decided it might be interesting to go try that out. In turn, Matt tells Foggy how he changed his mind at age 15, right at the start of sophomore year of high school, when his dad went back to freighter work for the first time since right before Matt had been born.

Jack Murdock had always desired to work in the stars, but knew he would never have the skills or smarts to get into Starfleet. The next best thing was freighter ship work-- it was fairly easy to get an occupation in, and most people weren't looking to get into it anyways. Freighter work is hard: it's months of deep space, cramped quarters on ships purely designed for the handling of cargo with still little consideration of the living experience on them despite the centuries of their existence at this point. While you're going new places, meeting new clients, the only people you're in constant contact with are the same handful of people for all this time. And while you'll grow close, become tight knit friends, it still feels so damn lonely sometimes. Especially on those family run freighters, despite how it seems like you should be able to slide right on into them comfortably and become their family, too. Despite it all, Jack functioned just fine, and even found himself thriving in the work, because he was where he had always wanted and now loved to be. To get to see those stars in the vast expanse of the galaxy was a gift to him, and he wouldn't trade it for the world. He had always thought that for sure, until he'd gotten done with work for the time being and was now on a well earned break back on Earth, and met a lovely young lady named Maggie. He knew then he would trade every star in the sky just to see her smile. 

Jack Murdock knew he had done just that when he heard that first little cry from the little boy that looked so much like him right in Maggie's arms.

Freighter ships, despite how a good amount of them were family operated and owned, were still no place for children. Even for the ones that had those multigenerational structures in mind, it was still thought of with that family in mind, at a very specific size, and even then it could get real crowded. After all, these ships are for cargo, and there'd be no space for it if every operation allowed their employees to bring their kids. Jack knew there would never be any space for Matty in a place like that, even if Matt could befriend the few other potential children aboard (that is, if Jack could even get contracted with a ship that allowed them). Even if Jack wanted to go back terribly to his off planet work, there was no one to take care of Matt with Maggie out of the picture, no family or friends close enough for it. Jack would have to leave Matty alone for months at a time, and the thought felt unbearable considering he was worried about the idea of his son's loneliness on a ship with him. So Jack decided his time up there was over, he had a little boy back on Earth to take care of, and picked up other jobs here and there to allow Matt to have a normal enough childhood.

They stay up late the first night in their new cramped quarters, on their first real starship assignment together, the training assignment every cadet is required to go through in order to graduate. For the first time Matt tells Foggy how he feels like he's one of the last people on Earth in this century to ever have his whole life change due to corporate carelessness, because it wasn't due to something blowing up in his face in a school lab at age 12 that lead to his loss of vision. It's the first time Matt's ever discussed how he went blind with Foggy. Despite the intense, tight, and thorough rules and regulations and oversight of the transportation and handling of radioactive materials in the 24th century, somehow, some way, Matt managed to be one of the few people involved in such a mishandling when all that chemical waste spilled. Matt's never considered it being at the wrong place at the wrong time though, because it meant someone else didn't have to go through that same fate when he shoved that man out of the way, and he would do it a million times over if it meant no one else had to get hurt.

While there have been advances and improvements in ocular implants, that wasn't the case when Matt was a child. Implants were still a newer technology and procedure still being refined, and it was frightening to consider an only potentially successful operation for only somewhat restored eyesight. The VISOR was (and still is, for the most part) the most common option, therefore less frightening, and far easier to understand and upkeep. Matt would rather have that for any kind of visual restoration even if his sight would be absolutely nothing like he had known before. Even if Matt had lost his sight now, or if the technology had been near perfect back then, he would still choose his VISOR over anything else for everything it does bring to his world.

Matt grew up hearing just how damn smart he was from his daddy, and how he was goin' to do great things one day, be a doctor or a lawyer or an ambassador for intergalactic peace. How one day Matty was gonna be a better man than his daddy, and do so much more than he ever got to with all those brains he had. Matt still found his daddy pretty smart and found him to be a pretty good man. 

When Jack told Matt that one of the freighter vessels he had previously worked for had contacted him, offering him a job, Matt encouraged him to take the opportunity when Jack had asked how he'd feel if Jack went to work for them. Matt had known his whole life how much his daddy loved the stars, loved working up there, and how much this meant to him. He already knew that deep down, Jack was going to say yes to this job no matter what, that his heart had settled on it because he knew Matty was old enough to take care of himself while Jack would be away. He told Matt that until he graduated and went off to college, he'd only been taking short distance jobs, only away for days to weeks at a time instead of those long stretches of so many months.

It felt like no surprise when Foggy and Matt learned the other had decided on going the command track when taking their entrance exams should they have gotten into the academy. Foggy knew from the start he wouldn’t be quite suited towards science or operations, but if nothing else, supposed he could learn the operations skills should something prevent going down a command route. Matt had not once considered any other track– sure, everyone wanted to be a captain when they thought of joining Starfleet, but he found no shame in that. He knew plenty of people switched over to other divisions anyways, and he felt confident enough in himself to be able to make it, helping in the oversight of a starship. It’s not that Matt was necessarily aiming to be a captain, but he wanted to be in on the action, to be part of the lead– more than anything, he wanted the thrill of the adventure. Even if Matt was sure he’d never be swayed to another track, he knows deep in his heart he wouldn’t mind where he ended up by the time he graduates– he just wants to see the stars the way his daddy did. 

Matt had never understood the bizarre and weak taunts his peers would occasionally make when they learned his father worked on a freighter vessel, how they had an odd pretentiousness about it and thought it to be such lowly work. There were very few people who did this, and it always got to Matt just a little bit– pointless, mean little jabs for no good reason that were becoming more frequent and often, but he toughed it out and didn’t let it shake him. Matt was damn proud of his daddy. Nobody would ever take this feeling away. His father did amazing work, he was living his dream, and it inspired Matt so deeply. Matt thought about how much Jack loved working in the stars, and how much he loved Matt, and how smart he thought Matt was. Matt decided he would go into Starfleet and make his dad proud.

Foggy had almost convinced himself that he wanted to switch over to the science division after a particularly enjoyable and successful time in both an astrometrics and a xenobiology class. Matt had done great in his introductory xenolinguistics course, and found he had a natural talent for picking up a variety of languages. This talent didn’t translate into speaking them well, however, and one of his classmates begged Matt to never speak Andorian again without the assistance of the universal translator ever again. His accent apparently left much to be desired, and he’d been alerted that this issue had caused one of his phrases to become dangerously close to sounding like something particularly vulgar. Matt has been advised to stick with and further pursue Vulcan, Trill, Klingonese, and/or Modern Bajoran for advanced language courses, but particularly Trill. And to remain far, far away from Andorian. 

Matt tells Foggy how in a small, selfish part of his heart, he wished he had never told his dad he was proud of what he did, and that he should have never taken that stupid job. Foggy tells Matt that’s not true. Matt argues that it is. Foggy asks why Matt would bother to still be here, following the same path if working on a ship was such prideless work, if that was the case. The next hour is awkward and silent. It’s the second night of their starship assignment. Foggy wonders if he should say sorry. Matt wonders the same.

Cadet Murdock has found he’s done particularly well as an assistant to the Chief of Security on the ship, as Lieutenant Commander Everett keeps threatening to give him a yellow shirt. He says it’ll look better than the red anyways. Cadet Natchios seems to be in disagreement when she overhears this from her station nearby, assisting Lieutenant Mi’ler, and says the red will be far more flattering with Murdock’s handsome features. Matt is sure his face is the same shade as the strip of red on his gray uniform.

Jack was supposed to call last Wednesday on Matt’s first day of his first assignment on a real starship. Not assisting on a day trip on a scout vessel or spending the day learning how to operate a shuttle craft, but a genuine Nova class starship that would spend the next 6 months surveying and charting a nearby planetary system while establishing further relations with some of the warp ready civillations within. Even if it was still a relatively small vessel for short term missions, even if it was still just training, Matt knew how happy and proud Jack would be to see his son in the exact place he always wished he could have been.

Cadet Nelson had nearly thrown up after his performance on the Kobayashi Maru, even if he had done on the upper end of well on the test. When he hears Cadet Murdock get compared to the likes of Captain James T. Kirk for the ingenuity in his approach to the simulation, he almost wants to punch his best friend in the face. For the next two weeks, Matt can’t wipe the stupid grin off his face over hearing he did the best in their class on the test. Foggy starts to feel his fingers reflexively curl when other cadets stop by their lunch table to bring it up and stroke Matt’s enlarging ego, no matter how humble he pretends to be about it.

In their last video call, Jack had been beaming when he told Matt that he’d been promoted. He’d be handling some of their larger, more important clientele and would be involved in higher up decision making that carried real weight to the operation of the vessel. He’d even been given some very minor training at the helm, too. Jack was no helmsman, never would be, but it was fun that he was allowed to give some extremely minor input now and then in regards to navigation and such with his newfound skills. Matt told his daddy he’d never been prouder, and that he couldn’t wait to be working up in the stars with him soon.

Two and half months into their assignment, Matt and Foggy have found themselves far too invested in the spaghetti western program on the USS Artemis’s holodeck suite, as it is one of the few roleplay simulations available. It is bizarrely extensive with the large amount of chapters it contains. They’ve started to slowly arrange and shift their schedules on the ship so that their free time lines up to go use the suite together, and it’s worked for the most part until everything became unexpectedly busy. Lieutenant Everett tells Cadet Murdock if he asks for one more shift change this week, he’s going to tell the Captain to greatly reduce his allotted holodeck hours. Matt tells Foggy he thinks he might try out the gymnastics program by himself this week, and Foggy tells him that he’s been thinking about spending more time reading this week anyways. They find that their free time shifts have been scheduled at the same time for the next month the following week. 

Matt falls asleep the third night on the starship thinking about how Jack told him that for graduation, he’d take Matt on one last real good and fun day trip anywhere he wanted as long as it was on Earth, before his son would be shipped off onto a starship to go far away for a long time the next afternoon.

Foggy can barely believe it when he sees that he and Matt have been assigned to the same constitution class, exploratory starship for after graduation. While it isn’t the flagship Enterprise, it feels pretty damn close considering it’ll be their first true commissioned assignment, and he can’t contain his amazed, over the moon feeling about it. He confesses to Matt he was sure he would get stuck posted at some dinky deep space station. Not that that was something shameful, as it wasn’t in the slightest, it was still highly important and respectable work– but it wasn’t where Foggy wanted to go, and he knew that some cadets who didn’t do as well would get stuck in such places. Matt reminds his friend that he’s damn intelligent and quite skilled, and that he should give himself some more credit. It doesn’t push away the anxious creep that lives in Foggy’s mind, but it makes him feel a whole lot better to hear from one of the best guys in their class.

For their final day on Earth for the next 3 years, Matt and Foggy settle on a visit to New York to celebrate. Even if the location is decidedly boring on paper, considering all the places they could go, it’s a highly special trip. Matt shows Foggy the neighborhood he grew up in and points out the apartment building he and his dad used to live in as they stroll by. He tells Foggy that when he was a kid, he learned this part of the city used to be called Hell’s Kitchen centuries ago, but the name hadn’t really stuck as time went on. Matt liked calling it that though. The enjoyment had mostly started from finding a way to be allowed to say a swear word as a child, and then it simply became the way he referred to the neighborhood without any thought.

According to the report, the freighter vessel had gotten caught in the crossfire of a skirmish between the modified vessels of two small-time crime syndicates. It had been in a quiet, neutral zone in deep space, not too close towards any areas known to be particularly tense at the time. There had been 32 injured and 1 fatality out of a crew of 50 workers. 

Ensign Matthew Michael Murdock can’t stop fiddling with the single, shiny pip on his new uniform as he gets ready to leave. It’s cool and smooth to the touch, just barely the size of his fingertip, and he’s known since childhood that it’s gold in color. He runs his hands down the uniform, taking note of his silhouette in the clothing, and smooths down his jacket one more time as he picks up his suitcase. When Matt heads out his door for the last time, his free hand goes right back to running over his red shirt collar where it sits.

[raddestrose]

I’M SO SCARED YOU GUYS

HE LOOKS SO TORMENTED

[astralcurses]

every time i listen to the Birthday Massacre it unequivocally RADIATES A Snapping Sound vibes. like. the two are so intrinsically linked in my brain. i only read a snapping sound Once in like. early 2020, and its one of those books/fics that sticks with you for the rest of your life. i should reread it actually. but yeah music by The Birthday Massacre sounds like Amity Park but specifically from A Snapping Sound

[certainwill]

my gousotsu brainrot came back and is driving me up the wall...

the POTENTIAL is SO GOOD but whenever I think about the things I don't like about it I'm like. arrrrgh. pulling my hair out... i'm in love with what it could've been, but the knowledge that it's all just my headcanons i love and not the actual reality of what was intended just makes me so sad sometimes...

[toadsrbutch]

it is undeniable that many cops are trained in "counterterrorism" and "crowd control" in the us, please don’t deny that. it is an important factor in recognizing how our oppressions are intertwined and they build upon each other. not a dogwhistle, in fact i first heard about it from tasha kaminsky in her article on the adl for +972 mag.

I’ve never denied that cops actively are trained in suppressing and violently attacking people, we’ve seen it so much in recent years with the brutality people have faced by police at BLM protests (and earlier). honestly it felt like one of those cases where the tweet at hand didn’t capture the big picture that all of these entities feed into each other and benefit each other. sorry if this is incoherent but hopefully it gets the point across.