#Personally I think about her as short

[clouvu]

Nothing in the world belongs to me But my love, mine, all mine

[imaybe5tupid]

Falin in the Isle of Wa

ft Benichidori and Hien 👯‍♀️

Part 1 of my postcanon dyke drama cinematic universe

Part 2

Interlude

Part 3

[oceanwithouthermoon]

one of my favorite (/sarcastic but not really cuz its like funny idk) things in fandoms is when people make ocs or self inserts or 'x readers' being shipped with characters, but the oc/sona/reader is literally just another character from the source material.. its like youre shipping the characters but didnt want to admit it, so you made a kinsona and branded it as something else..

and its NEVER subtle, actually its super blatant every time and im always shocked when nobody points it out..

i have seen uncountable saiki k x readers where the description is like:

"saiki meets someone whose thoughts he cant read for the first time, and even though he doesnt trust her at first, she keeps proving that she is kind and has good intentions!" you mean nendo? reader is girl nendo?

"this time, he meets a girl whose thoughts honestly match up with her spoken words almost perfectly for the first time!" hairo. youre shipping saiki with girl hairo.

"saiki meets someone whose thoughts are too fast and jumbled to re-" ITS AKECHI, THATS AKECHI, ITS LITERALLY AKECHI.

"saiki meets someone whose just as immune to teruhashi as he is for the first and only tim-" this is hairo again, awe bae you secretly LOVE haisai ?!?

"saiki sees his old childhood friend for the first time in years after an incident caused them to be apart and then they fall in lov-" WHY DID YOU EVEN WRITE THIS AND NOT CALL IT SAIKECHI.

its even funnier when they say its like that characters little sister, but the way they write it is still literally just the character, like their personality, dialogue, even their relationship, is the same..

not all of them fit this exactly, but the ones that take a boy character and turn them into a girl oc to ship them with a boy, it reminds of how in equestria girls they couldnt make applejack and rarity endgame so they gave them boyfriends who looked IDENTICAL to each other.. thats what youre creating, guys, youre creating heterosexual rarijack.

[sage-nebula]

It happened, as things so often did, like a bolt from the blue on one of Pacifica's rare days off from work at the diner.

It was the height of summer and so hellaciously hot, even for—no, especially for Oregon. Having lost access to the private pools and yachts after her father's investments into Cipher capital during Weirdmageddon four years prior, Pacifica found herself at the Gravity Falls community pool, lounging on a pool chair after layering SPF 50 on her skin, and silently telling herself over and over that it was always morally correct to block her parents' numbers on her days off, and that her father probably hadn't yet found where Pacifica's pet rescue opposum, Susanna, had hidden the bell yet, so there was no need to worry.

(Pacifica had rescued Susanna from the diner kitchen two summers ago, when she was fourteen. Susanna was technically a male oppossum, but something about him reminded Pacifica of Lazy Susan, so Susanna he was.)

But it was at that moment that deep laughter followed by a higher pitched "shut up!" and even more laughter from both voices broke through Pacifica's inner mantras. She opened her eyes to see that both of the Pines twins, having once again made their yearly visit to Gravity Falls, had also chosen to visit the pool that day.

Pacifica swallowed hard.

For all that she had tried to deny it even to herself in her tween and early teen years, by now Pacifica had long since accepted that she found Dipper Pines attractive. It was impossible not to, with the way he came back taller each summer, his shoulders increasingly more broad as he grew into the physique promised by his great uncles (or his Great Uncle Ford, anyway), a little stubble that he "forgot" to shave always left around his chin, and his sideburns. Oh, his sideburns. Pacifica hated how much she loved Dipper's sideburns. It was beyond cringe, and the only other living soul who would ever know about her crush was Susanna, but Pacifica Northwest did indeed have a crush on Dipper Pines. She knew, and accepted, this about herself.

But then, on that hellaciously hot summer day at the community pool, Mabel Pines took her sweater off right in front of Pacifica's eyes.

Mabel pulled her sweater up over her head, and it was as if time slowed down. Mabel's arms were just as toned and strong (if not maybe a little more toned, the way the sunlight hit her muscles) than Dipper's. She had been wearing a bikini under her sweater—a pink one decorated with stars that fit her perfectly—and her thousand watt smile revealed she'd finally gotten her braces off to reveal a set of dazzling teeth. And when she tugged her hair free from her ponytail, it swished around her in a cascade of long, brown waves.

Dipper had thrown his tanktop onto a pool chair, and Mabel followed suit, throwing her sweater and hair tie on top of Dipper's shirt. But as Dipper was in the middle of saying something (they were too far for Pacifica to hear clearly), Mabel whipped back around with devilish speed and shoved him straight in the pool.

Mabel laughed uproariously as Dipper came back up for air, sputtering water and shaking his sopping bangs from his eyes. But he was only off guard for a second, and Mabel's mirth kept her off hers for longer. Dipper grinned wickedly and snapped his fingers around Mabel's wrist, yanking her in headfirst after him. Just as Dipper had before her, Mabel resurfaced immediately, though she had to use both hands to shove her curtains of damp hair out of her face. But her smile was just as impish as Dipper's own, and within seconds they were splashing each other, shrieking and laughing as they caused the biggest ruckus the pool had seen all day.

And as she watched them play, the water making their skin glisten and their smiles making their eyes sparkle, Pacifica felt a swarm of butterflies in her gut and a flash of heat in her face that had nothing at all to do with the summer sun above. She curled in on herself in her pool chair, and tugged her sun hat down over her face.

"Oh no."

[taylorrepdetective]

I know she had era tour but I don’t think I can do it w a broken heart is actually eras tour

I thought of this too. Maybe sometime down under? No way to know, but I did think the line she threw in at the end “Try and come for my job” might have hinted at something. I can read it both ways. As always, we’ll never know for sure. But I think it’s fair to say she has felt this way many times. It reminded me of Katy having to go on stage immediately after having her husband tell her he was filing for divorce. And it’s relatable. We’ve all had to put on a happy face at work and pretend things are fine at home.

[natjennie]

"thomas got no character development" maybe. or maybe the moral of his story is that it's irresponsible and unhealthy to attempt to completely deprive yourself of your feelings and much more productive to accept them as part of yourself and move on with your life from there. trying to go cold turkey on alison and then randomly picking another person to have a crush on only for it not to work is something we've seen thomas do before, which for some reason people decide to see as boring repetition rather than consistent characterization. but after that. did you miss the part where he stopped talking when she walked away, realized along with everyone else when fanny said "we're as bad as betty" and voted to go through with the proposal for alison to leave? did you miss the part where he happily waved her and her living family goodbye? did you miss the part where alison, old and gray, came back and mirthfully said "thomas, you flatter me" like. his passion for people and obsession with the idea of love wasn't gonna just go away. but he's learning to treat her with more respect, he didn't throw a tantrum or follow her around or go drown himself in the lake. just because he's not a completely different character doesn't mean there wasn't growth. watch season 1 episode 2 thomas say "divorce him, kill yourself, marry me" and then watch the christmas special again and tell me there was no development. come on now.

[hephaestuscrew]

Pan-Pan, Boléro, and Minkowski's different responses to loss

I want to compare two key lines of Minkowski's which indicate very different responses to grief:

In Ep29 Pan-Pan, Minkowski breaks down and says "Doug Eiffel is gone! There was nothing we could do to save him. It wasn't anyone's fault. It's horrible, and pointless, and it just happened."

In contrast, after arriving at the funeral in Ep46 Boléro, she says "[Lovelace, Hilbert and Maxwell are dead] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here." 

TL;DR: In Pan-Pan, Minkowski expresses her unprocessed grief through despair and hopelessness. Whereas in Boléro, she is able to find hope in the loss and lead her crew in trying to move forward. I suggest a significant reason of the difference is the presence of Eiffel to force Minkowski to confront and process the sense of loss.

Pan-Pan: "It's horrible, and pointless, and it just happened"

In Pan-Pan, the whole episode is full of anger and despair, but Minkowski speaking about the horrible pointlessness of losing Eiffel is one of the most painful and hopeless moments. It doesn't feel like she's really speaking to the others. She's focused on her internal despair (as suggested by the fact that she goes on to talk about the cracks, which Lovelace and Hilbert aren't supposed to know about).

The only potentially positive thing Minkowski says here is her recognition that "it wasn't anyone's fault". When Hera and Hilbert have been blaming Lovelace, and Minkowski has been blaming herself, it's significant that she acknowledges that sometimes a horrible thing just happens without there being anyone to blame. 

But in this context, and in the tone of voice Minkowski uses, even the lack of blame doesn't really feel like a positive thing. If Eiffel becoming stranded was just pointless and random, if there was nothing any of them could have done to save him, then the next tragedy might be just as unpredictable and unpreventable. Minkowski strikes me as the kind of person who can sometimes fall into the trap of subconsciously wishing that the awful thing is her fault because then at least she'd have control over something. In her train of thought here, the lack of blame is followed by focusing on how horrible and pointless what happened to Eiffel was. The only conclusion she can draw is "it just happened". There's no sense of hope in those lines. Eiffel being stranded just happened, and so do the cracks, and the crew are at the whims of brutal fortune with no meaning to any of it.

Boléro: "They're gone... so that we never forget how important it is that we're still here"

In Boléro, Minkowski can't even say that the tragedy wasn't anyone's fault. For each of the deaths, someone pulled a trigger. There is blame, and some of it lies at her feet. She didn't want to come to the funeral because at first she didn't know what she could say about the deaths she feels responsible for.

Yet even so, this time she finds something reassuring she can say to her crew, a grain of hope she can provide without attempting to diminish the loss: "[they're gone] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."

In another show, or another context, this kind of line might have had an 'everything happens for a reason' tone, which is something I deeply dislike as a response to other people's loss. But it doesn't feel like that's what Minkowski is saying here at all. She isn't trying to make any grand philosophical statement about the ultimate beneficence of the universe, or about how mortality gives meaning to human life. What she says here is working on a much more personal level. It's more about finding something other than despair that the crew can take from what has happened. This tragedy may still be horrible, but it provides a reminder that they are still alive in a context where that's far from guaranteed. Minkowski emphasises that the fact the survivors are alive matters - her crew matters. I'd argue that this contrasts with the 'it just happened' outlook discussed above. 

I don't know how much Minkowski fully feels the importance of them still being there in the moment, but it's something that she can offer her crew, something that she can say in a situation that words can't grasp. I think the moment when she joins the funeral is such a key moment of her leadership. In the end, despite her doubts and struggles, she's there for her crew. Eiffel brought them together for a funeral, but he doesn't know what to say when Hera asks why they have to be gone. Minkowski enters just at the right moment to support her crew and she provides an answer to Hera's question. It's not a perfect answer, but it allows the funeral to move forward. It allows the crew to move forward (even if that emotional movement is somewhat thrown off by a dramatic change in the circumstances). Minkowski starts off the eulogies; she leads her crew in the acknowledgement of what's been lost.

Why such a difference in responses?

There's lots of ways you could interpret the difference between the outlook of these two moments, and there's probably more to say about it though the lens of Minkowski's character development than I'm going to say here. But for me, the main difference between these moments is that, in Pan-Pan, it feels like no processing or recognition of grief has really occurred. When Minkowski says "Doug Eiffel is gone!", it almost feels like the first time that Minkowski has fully confronted and acknowledged the loss. Eiffel has been lost in space for 116 days, but it's only at the end of this episode that Minkowski brings herself to say in her distress calls that he is "presumed dead". Whereas in Boléro, she's already eulogising the dead and thinking about what can be learned from the loss, not even a full day after the mutiny.

Obviously there is much less ambiguity to a body bag (or least there would be, if not for alien interference). But I can't help thinking that the difference between the attitudes towards loss which Minkowski displays in these two quotes is less about the difference in the kind of loss, and more about a situation that prompted and enabled the processing of emotions in Boléro: namely, the funeral. After Eiffel was stranded in space, I think Minkowski probably went months without looking her grief in the eye. But after the deaths of Lovelace, Hilbert, and Maxwell, Eiffel's suggestion of a funeral forces Minkowski to confront her complicated emotions and provides a space in which she can offer direction to her grieving crew.

This is a good illustration of how I think Minkowski and Eiffel complement and support each other in a really valuable way. On his own, Eiffel couldn't provide the leadership that the crew needed for the funeral to work. But without Eiffel, and his determination to recognise the emotional weight of the three deaths, the funeral would never have happened and Minkowski would never have been in a position to provide hope and direction to her crew. When Eiffel was the one the Hephaestus crew were grieving, Minkowski couldn't offer much emotional direction to her crew beyond despair. But when Eiffel is beside her in the grief, saying that the grief deserves to be felt, then Minkowski can find a way for them to move forward emotionally. It's not the deaths that remind them how important it is that they are still here. It's the grief. It's the ability to confront that grief together.

[hitokiri-izou]

With the new information on Emanators, it's becoming more certain that Acheron is one. Emanators of the Nihility, or just Self Annihilators, lose a part of themselves when they unwittingly step into Nihility. Some lose their sense of pain and pleasure, become numb, or start to lose their memory. In Acheron's case it definitely seems to be her memory. Not that it's completely gone but it's unreliable at the very least. During her dance with Black Swan, one frame seemed to have IX the Nihility

Right afterwards, Black Swan is shown being pulled in

It's said that just seeing IX is enough to lose your sense of self, which is what I think Black Swan was facing when she tried to peak at Acheron's memory. There was nothing but an abyss though

Being a Self Annihilator is thought of as having been infected with Nihility and some try to cure themselves and others by working with the Doctors of Chaos. I don't know that anyone willingly becomes a Self Annihilator but if they do, the new info suggests that to do so would be to slowly lose your identity, body, everything and commit a sort of ego death.

Black Swan doesn't have a body and is comprised of memory. If she were to step so close to Nihility she would completely vanish.

This was probably the closest to death Black Swan has been in a very long time

[cerise-on-top]

I love the way you write for the cod women! specifically, Farah (she's my wife) if you feel comfortable writing for chubby readers. Could you write Farah x Chubby Reader? 💕

Hello! I'm glad to hear that you enjoy my writing! Farah is pretty cool I agree! Here you go!

Farah with a Chubby!Reader

Farah doesn’t particularly care about your body type as long as you’re you. She fell in love with you because of your personality, not your body. But that isn’t to say she wouldn’t adore it all the same. It’s a part of you, and therefore it’s as perfect as it could get. She loves you in your entirety, regardless of what you look like, even on those days where you might feel like she deserves someone better than you. Someone who fits the image of traditionally handsome or pretty more so than you do. It’s during those days where Farah would actually become a bit more cuddly than she usually is. She doesn’t touch people very often aside from the occasional friendly pat on the shoulder or maybe patching someone up after a rough fight. She may be touch starved, but she doesn’t really touch people. Not that she detests it, it’s just not her style. So she’d be a bit more touchy with you, reassuring you that you’re lovely just as you are. You’re gorgeous, no one could ever take that away from you. It’s during those days that she’ll demand you lie down on the couch or the bed so she can rest her head either on your chest or your tummy. Both are the perfect napping spot, she’ll claim, even if she doesn’t really take naps during the day. She’ll snuggle into you, hold you close and tell you just how lovely and beautiful you are, beauty standards be damned because the prettiest, most jaw dropping person on the planet is with her right now anyway. Every other fool knows nothing in comparison.

Farah is also pretty good with her words. When she was younger she used to read quite a lot, quite a few things were above her reading level as well, so she knows a few fancy words here and there. She can compare you to just about anything beautiful on this planet, but she does like to tell you that there were some cultures out there where being chubby was a sign of wealth and beauty. And that’s another thing she likes about you: You’re chubby because you can afford food, because you can afford to eat well. She’ll remind you that there were princesses out there, chubby ones, who would be the pinnacle of wealth and beauty because of it. Farah is far from all knowing, but she knows a few things here and there.

Besides, as mentioned before, she’ll love you regardless of what you look like. If she feels particularly touch starved she’ll walk up to you from behind, wrap her arms around you and squeeze your tummy a bit. It’s warm, it’s soft, she gets to hold you in her arms. What’s not to love about the concept? If you’re someone who’s into cute clothing, then Farah fantasizes about seeing you in a cute dress. Something like a fancy lolita dress because she knows you’d look so cute in it. While she can’t buy an outfit like that for you as it is, she hopes that once the situation has calmed down a lot and she won’t have to fight for her life anymore, that Farah can buy you a cute dress.

While she won’t outright ask for it, sometimes she does like being held, so she definitely wouldn’t mind it if you pulled her down on top of you, held her down with your arms and then rambled on about your day. However, be warned, as she mindlessly listens to you, she might play around a bit and poke your tummy, or whichever it is that is closest to her. Hope you’re not ticklish because the chances are high she’ll do that. You’re soft, it’s fun and if you are ticklish then she has even more of an incentive to actually do it. Not at all sneaky about it either, will poke you and then look up at you with a smile. Farah, too, can be a bit of a meanie, but she loves you so it’s okay.

[softboiled-egg]

Fem dazai for the win!!!!!

[prince-liest]

Random question! In your fics, Alastor is shown to be uncomfortable with his non human characteristics like his hooves/tail/deer ears, so do you think the reason his hair looks like this on the sides is because he grew it out specifically to hide his nonexistent human ears? (Unless he has two pairs of ears, a human one and a deer one, but that would be weird. Then again, why not?).

I don't personally see him as massively uncomfortable with those traits - at least, haha, not like how I write Hawks from My Hero Academia and his collection of semi-nonconsensual cosmetic surgeries - which is a choice I make largely because hell and heaven are just too full of furries for it to not be at least generally normalized. So when I write him as uncomfortable with those traits, it's largely a bit of the "this is not what my body used to be" uncanny valley effect in combination with two other things:

The amount of undress required to even catch sight of the hooves or tail being a state of vulnerability. This is a guy who's buttoned up to his chin and wearing a three-piece suit at all times in canon, and I imagine he would be uncomfortable with that much of himself being revealed at all. A lot of a person's image (something clearly very important to Alastor) is bound up in how they look and dress, and being undressed is losing part of that.

People touching him without his permission, especially in a demeaning, condescending, or entitled way. While I'm just, y'know, generally obsessed with cute animal traits, I also write his reaction and the circumstances in which people get touchy with his ears and tail very deliberately with respect to his relationship with the person doing it, their intent, his boundaries/permission, the ongoing situation, etc, ranging from "this is pleasant" to "my tolerance of this is rapidly waning" to "this is unpleasant but in a kinky way" to "this was arguably the whumpiest part of a fic where he also nearly got his ribcage ripped out."

Anyway, all of that is to say that I hadn't thought about his hair style specifically that way, but I approach the whole thing from the perspective of his control issues and I think it's a totally feasible headcanon! I imagine he would find that lacking human ears would look odd, and it's much easier for him to control how people see him (and what particular flavors of oddness he projects) when he has a haircut that makes human ears or a lack thereof a non-issue.

[anintroverteddarling]

This was on my head when I heard the song ngl daslkfjndskfjandsf

Despite shipping Rody with Vincent, my girl Manon did not deserve to die like that TvT In the beginning, I thought Manon was just some girl leading on Rody but at the end I realize the whole context of Manon and Rody's relationship. Manon did love Rody but seeing how Rody is willing to self-destruct just to keep her happy, she already realize both of them will end up miserable so she had to be the one to end it for their sake like damn THE FACT MANON STILL HAD THE LOCKET WAS DKFLJNADSKFJNADSKJNASDKFJNAS THE ANGST THIS GAME BRINGS I SWEAR-- Rest in Peace, Manon. You had little screentime but you also made a big impact on the game.

[feluka]

hate that whenever i show my mom my art her immediate response is always "are you sure you have that much free time to do this?"

[starlooove]

The woobification of Gotham rogues needs to be studied

[faaun]

oh my god u rly are everyone you've ever loved !! for better or worse !! a part of you becomes them!