#Training Classes for Kids

[sabacus02]

Best Training Classes for Kids in Ghaziabad

Are you looking for a unique and effective way to boost your child's cognitive skills and academic performance? Look no further than S-Abacus, the leading provider of Best Training Classes for Kids in Ghaziabad.

[kagooleo]

my main reasoning for timeskip!silv having long hair is for the sole purpose of dragon baby storage

the modern pokeworld���s medusa if you will

[somanyjacks]

Free Online Classes about Goat Farming

My friend Lee from Moxie Ridge Farm is hosting some free online courses about goat farming! If you have any interest in agriculture, homesteading, or are an author trying to get that goat farm AU off the ground, check them out!

Goat Care Basics

This is a course for those who have never worked with goats before. Perfect for those looking to start working with goats in their job and those looking to incorporate goats into their homestead or farm. By the end of this class, students will be ready to own and care for goats. 

Behavioral Herdsmanship for Goats

When people ask me what my secret is with goats, I can now answer with this course. It is an intro to Behavioral Herdsmanship for goats and covers getting to know behavior on 3 levels as well as herding skills, moving goats, and more.  This course is appropriate for those who have never worked with goats and those wishing to deepen their trust-based working relationship with goats.

Goat Kidding Basics

Kidding can be an important part of goat ownership for those who want milk or baby goats. This course teaches the basics of kidding and prepares students to attend their first goat birth. 

Bottle Raising Baby Goats

Raising bottle babies can be both challenging and incredibly rewarding. This course walks students through post-birth care, selecting and using a bottle system, and how to play in order to raise safe and friendly goats. Appropriate for those wishing to learn to raise a single baby to several dozen for home or work. 

These courses have been made possible by the Northeast Dairy Business Innovation Center and are a training series targeted at people who want to start working with goats either as owners or as a part of their jobs.

[haiisx]

Adam & Sero! Turns out, Sero's pretty good with physics when it's used in the field.

[polysyndetonaddictsupportgroup]

hello hello!! your fic pez dispenser debris brings me immense joy. and i wanna know if the other nejire and tamaki will be showing up. id love to see their reactions to fucking #leku. and i’d love to hear your thoughts on them in general if you have any to spare. the big three have such a fun dynamic to me.

Tamaki will appear. I’m not fully settled on Nejire. In my mind, she moved to Kyoto not long after she graduated but keeps in very close touch (if you read the battle of Yokohama posts, she was there during that fight because she was visiting Her Boys and insisted on a Big Three Sleep Over, which is why the three of them were together when Izuku called to begin with). They have a group chat that she started blowing up when the Leku news hit. All of them are painfully, violently aware of the fact Mirio is absolutely not dating Izuku and also of the fact that Mirio’s probably close to drowning himself at the mere thought.

I do really like the idea of the Big Three having been sort of outcasts before they were the big three, and I think canon supports this reading. They were all sort of the weird kids. They were each other’s only friends. After they started rising in the ranks, they became more popular, but they all consider the others their main people.

I also like the idea that they became the Big Three because of each other.

They were friends before they were the big three. And it’s not a coincidence that the big three were all already friends. They pushed each other to grow in their skills and surpass everyone else.

The reason why they haven’t been more present in pez is actually the same reason why I didn’t have them open a hero agency together: they all need to grow separately from the others for a bit.

Like. Here’s Mirio, with two very skilled and experienced heroes at his side, waiting for Izuku to graduate so he can start his agency. Why not go into business with the friends he’s already been fighting with for years?

I see the Big Three as people who all, for one reason or another, decided that they needed to learn how to be strong on their own at the start of their career.

Take Tamaki. He’s childhood friends with Mirio. He was briefly referenced in one of the tumblr posts as one of Mirio’s staunchest advocates after he lost his Quirk. So why isn’t he heroes with Mirio?

Well, he sort of is. He’s got a mutual support agreement with him.

Time to derail into my favorite topic: the economic models underpinning fictional societies. As you can probably guess I’m great at parties.

Mutual support agreements are contractual devices that I came up with in response to the convoluted economic structure of heroics compensation I discussed a few posts ago. In that post, I discussed independent/underground v. agency models with respect to public compensation and how I think that there’s an impossibly complicated matrix that grants heroes portions of the local budget based on their statistics. Briefly, I discussed how that calculation would cause conflict with big name heroes taking credit for their sidekicks’ work because agencies would necessarily need to be counted as one entity for the purposes of public funding.

What happens when multiple agencies are involved in the same incident?

As a reminder, the reason why they need to assign credit for a bust to one individual is because agencies are funded as a whole. This is a grant system that’s meant to be more than just about paying a salary—the government is providing funds meant to go towards an office space, supplies, everything. You could not give everyone in an agency public funding separate checks under that model. Public funding is made out to the agency as a whole and it’s up to the agency as to how to use it. But if you have six people from the same agency who all register the exact same take down because they all participated—well now you’ve got the one job reported six times over for the same filing entity. That’s going to horrifically skew the funding calculation. The government’s paying for the same bust six times over and you just incentivized hero agencies to send their people all to do the same job because it pays the same to have six guys stop one criminal as it does to have six guys stop six different criminals separately.

But hey—sometimes it’s a six guy job. That would more appropriately be considered an enhancement to a job’s relative difficulty than it would be to giving credit for a takedown. After all, the same job could require “six guys” or “one All Might.” If you focus on the number of heroes an agency uses in a job than you do on how difficult that job actually is, then you’re inadvertently penalizing better heroes because Mid Tier Agency needed six guys to handle what you did on your own, but since they needed six whole guys they get paid more for the same thing that you could do solo.

But the reason for this one man credit structure is because you’re getting one check for the government per agency. But what about when heroes from different agencies team up? Big Hero is not sharing a government funding check with Even Bigger Hero, and there’s absolutely no way that every single team up is just fucking pro bono for everyone but one guy. That’d make it impossible. So the same job would have to get counted multiple times when it involved different heroic entities.

The fact that you were teamed up instead of solo would go into the relative value calculation of each independent job. You get the full pot if you’re solo, but if you’re sharing the load, you’re sharing the credit. But at the same time, how much credit you get would also have to be determined on a case by case basis. Like. A hero that evacuated three civilians contributed to a fight, but they in no way should get equal credit and compensation to All Might, who fought the entire villain team solo.

So say Big Hero Agency and Bigger Hero Agency are doing a team up for the good of Japan. Big Hero Agency initiated the investigation, did most of the legwork, and invited Bigger Hero Agency onto the job. However, when it came to actually fighting, Bigger Hero Agency absolutely carried the day. Big Hero Agency would have been dust if Bigger Hero Agency hadn’t been there.

Who deserves more credit and compensation?

There is probably some kind of governmental dispute/appeal board to settle disputes about compensation, but like. As someone who does government work. The government’s absolute favorite thing to say is “we are not babysitting you, fucking figure it out like big boys.” They’ll have a way to resolve disputes, but they will also heavily incentivize voluntary agreement amongst the parties.

Planned team ups probably have legal working shit out ahead of time. Spontaneous team ups or heroes stealing each other’s fights a la Mount Lady and Kamui Woods in the pilot are probably the biggest headaches.

But what about heroes that are always teaming up? They’re your go to. Your homeboy. The daredevil to your Spider-Man. You don’t file your paperwork together, but you’re still always fighting side by side. Are you renegotiating who gets credit for what in every single little fight?

Fuck no. That’s a huge pain in the ass. Enter the mutual support agreement. It’s a contract that has a bunch of clauses meant to help streamline deciding who gets credit for what and resolve disputes before they happen.

You wouldn’t just want this for compensation purposes. Say Big Hero commits the hero equivalent of police brutality. Now he’s being sued. He’s apparently not that big of a hero as the name implies, because he’s got no fucking money. You want more money for your client, so you need a deeper pocket to pull from. At the time of the incident, he was working with Bigger Hero Agency. They’re not the same agency, but it was Bigger Heroes bust, and they work together all the time. Big Hero is basically one of Bigger Heroes employees hidden behind a different corporate structure. Should Bigger Hero be liable for Big Hero?

That’s a big fucking court case that can be headed off at the pass by the fact that Bigger Hero put indemnification and liability clauses in its mutual support agreement. There’s a lot of issues that would arise from the practice of heroics that you’d want to govern ahead of time with a contract. So you sign a mutual support agreement.

But the silly little fake tumblr post also said they weren’t popular and mostly agencies like Idaten used them. So why is that?

Frankly, because it’s not very worth agencies while to team up with other agencies on the regular. The system doesn’t incentivize it.

If you have all of your own sidekicks on a job, you can steal credit from them. The same is not true for heroes from other agencies. You get more public funding if you staff a job with all people from your agency instead of having part of the credit go to other agencies. And you get to stand in front of the cameras and say “Big Hero Has Saved The City Again” instead of having to say “Thank You To Our Dear Friends From Bigger Hero Agency Who Carried This Team.”

Idaten is the exception because, well. It doesn’t care. Idaten’s priority is cultivating the necessary talent and teamwork needed to get the job done. It doesn’t care if it has to go outside of the agency for that. Fuck, Tensei’s canonically willing to reach out to vigilantes. Its genuine focus is saving people, so it goes against the grain of what the system incentivizes.

Mirio and Tamaki have a mutual support agreement. They’re out working together so much that Fat Gum’s agency approved an overall disliked mechanism to facilitate their team ups. They are heroes together—so why aren’t they in an agency together?

I think Tamaki wanted to spend his first year in heroics forcing himself out of his comfort zone so he’d improve. Fat Gum will force him in front of the cameras. He’s focusing on learning how to communicate effectively with the public and with the media, and Fat Gum has the sort of resources and infrastructure where Tamaki can devote the time to learning that and improving. If he was in an agency with Mirio, he’d use Mirio as a crutch to hide from something he genuinely wants to improve in. Fat Gum forces him to grow.

Mirio himself sort of had to go independent. For one, he and Izuku decided to start their agency not too long after Mirio got his license. It was before Mirio debuted. Izuku had just finished his first year. No one knew who either of them were, and they had no clue just how famous they’d both become before Izuku graduated.

They both figured they’d be a couple of nobody heroes with a dinky little agency right out the gate of Izuku’s graduation and were sort of genuinely excited at the prospect. They’d just be heroes together, which is all they wanted. They’d figured no one would give a shit about them until well after they started their agency and started working and that Izuku would have 0 offers to work elsewhere because he wasn’t even going to apply to agencies. So Mirio decided he’d stay independent until Izuku graduated so he wouldn’t be tied up in an agency contracts and they could just start fresh.

The other reason is that most agencies wouldn’t touch Mirio with a ten foot pole because he was Quirkless, and even with the ones that would, he suspected they’d sideline or coddle him because he was Quirkless. Being independent meant he could do whatever the hell he pleased. So he bought the Mirio Mom Van and, for a brief, glorious moment, convinced All Might to supervise their bullshit so he could start going on jobs with Izuku (students have to be supervised by heroes with a teaching license, which he wouldn’t be eligible for for the first three years of his career, except in exigent circumstances. He couldn’t have Izuku as an intern himself but All Might sure could). For a few beautiful weeks it was just Mirio, Izuku, and fucking All Might in the Mirio Mom Van going on stakeouts, all wearing the world’s stupidest mustaches. The UA internship program revoked permission for this arrangement not long after it started formally out of concerns for the legality of this arrangement since All Might was no longer an active duty hero, informally because All Might, Izuku, and Mirio is the stupidest and most reckless combination fucking imaginable and they are killing Aizawa from the stress they are killing him. So now Mirio works alone while he waits for Izuku to be fully licensed.

Nejire I kind of see as someone who moved away from her hometown right out of the gate of graduation but visited home very frequently, which is why she moved to Kyoto after graduation but was having a fucking sleepover at Mirio’s place when Yokohama happened. She takes the bullet train back at least once a month and spends the weekend bumming on Mirio or Tamaki’s couch. I think she wanted to see who she was away from home and there’d never be a better time to do it. I also think she’ll move back so that way she can work more fully with Her Boys one day, but wanted to push herself out of the familiar first.

All of the trio’s reasons for not working together quite yet are mutable, to be clear. Tamaki just wanted the experience early in his career or he knew he’d never learn the public relation skills he wanted to get. Nejire also just wanted the experience somewhere else before she put down real roots somewhere and is liable to move back to be with her friends and family. And Mirio’s on the verge of opening his own agency, so he doesn’t have to worry about getting sidelined by his boss anymore or getting tied up in a bad contract.

[rambrandt-the-painter]

i hate reading and im checking mariam webster to figure out how to use punctuation marks but im still writing weirdly artful furry porn.

never give up on your dreams!!!!

[locomotive-paws]

Ttte AU Fan kids Part 2

Ok so guess the ship part two. Although the last one only her dad is cannon, her mum was an oc/npc/random BR Class 37.

Top to Bottom:

Lillie: She is the first-born NG on Sodor. The other NG's call her Princess when she's up at the BMQ. She is always looking for something new to do, or a riot to cause.

Mark: "He's much smaller than any of the others I've had..."-Marion. Mark is easy going and generally quiet, unless you start talking about dinosaurs; then he can talk for hours.

Treasure and Neptune: Treasure is at this point non-verbal; she much prefers to stay beside her mum or dad. Neptune on the other hand wants to go explore and live the life of adventure. Why tell stories when you can live them?

Wish: She was born on the mainland under the BR, but when her mum passed her dad had to find someone to help. Being a Class 37, her engine sound often confuses others... Even Terance thought she was a tractor.

[blackfemmejeanvaljean]

The bitch that tired to get me fired by lying to state about me hitting a child (there were three teachers and a camera that proved I did no such thing) has officially been let go.

[bogkeep]

going back to sweden today </3 i've done my best to stock up on culture, friendship and testosterone gel until next time...

[normalbrothers]

wish i had the butch temperament but i'm too addicted looking like a little fairy princess

[tangents-within-tangents]

I can't believe people still say The Clone Wars and The Bad Batch are "just kids shows" when whatever this show is literally exists:

analysis of target audiences below (there's a TL;DR don't worry)

Okay so the whole "it's just for kids" fallacy/excuse/conversation stopper is such an issue as it is. Here's a good video about it, I'll probably do a whole rant at some point, but in short: the level of storytelling merit, emotional depth, and thematic exploration a work can and should achieve has never been limited by it's target audience/age group, nor it's storytelling medium. (And if you don't think that's true, try to tell me Pixar has never made you cry, go on)

So it doesn't matter if it was made for kids or not. There's nothing wrong with that and anyone can enjoy it anyway. But what I actually wanna talk about here is not the merits of "kids shows" but the misconception on what "kid show" even means.

For one thing, I think when some people say "it's a kids show" they are lumping anything from like Winnie the Pooh to Avatar: the Last Airbender into the same category, and that's just not how it works. The above example demonstrates that not all kids shows/stories are the same anyway (partially bc level of development/education changes drastically between the ages of like 3 and 12, and these are things that are really taken into account in the publishing industry).

I found Disney's ratings guide and I think this should clear some things up:

For reference:

Young Jedi Adventures is listed as TV-Y

Clone Wars (2003), Rebels, and Resistance are TV-Y7-FV

Clone Wars, Bad Batch, and the Tales of the Jedi/Empire are TV-PG

Mandalorian, Ahsoka, Kenobi, Book of Boba Fett, Andor, and Acolyte are all TV-14

And if we put that in context with the films:

The Clone Wars (2008) film and the Original and Prequel trilogy are PG except for Revenge of the Sith which is PG-13 along with the Sequel trilogy, Rogue One and Solo.

So basically TCW and TBB are considered by Disney's own system to be about the same level as most of the films. They are 4 degrees away from 'Young Jedi Adventures' and only 1 degree lower than the live-action shows. Which frankly feels like we got some animation bias going on since all the live-action shows are automatically in one category (which is silly as is and undue here anyway (here have another video) esp since the Clone Wars animation style is clearly meant to be older/more realistic). But regardless, it's literally right there:

And again there is nothing wrong with TCW/TBB being kids shows, but some internet-ers dismiss it as "made for 7 year olds" and that's just objectively not true. Strictly from this system (which idk how it compares to whatever system Cartoon Network used when it aired) you could say the TV-PG might mean 8-13 years old (which is a wide range tbh, there's a big difference between being 8 and being 13), but since TV-G says "suitable for ALL ages" it's also not limited to that.

Also if TCW was aimed for ~8-13 year old's back in 2008 then those same people, who TBB was clearly meant for based on the marketing, were ~21-26 when it premiered in 2021 (and I think that is definitely reflected in writing).

Age of the protagonist is another a good indicator, though it's not a strict rule (i.e. Ender's Game and To Kill a Mockingbird have younger pov characters but are clearly meant for older audiences) and we have a wide range in these shows (Ahsoka 14, Anakin 20, Obi-wan 35, Clones early 20s, Omega ??? 10ish?? idk it's unclear) and time passes. (And while a lot of TBB is filtered through Omega's perspective, there's also plenty of scenes/subplots/episodes where she isn't even there. Also I doubt anyone would call TLOU a kids show just bc Ellie is 14)

But also target audience is a lot more than just content ratings. Note how the first few ratings above say "this program is designed for" the age group, while after TV-G it's about if it contains anything that could be unsuitable for age groups. And ratings can be pretty vague and arbitrary, especially since they change over time (like I get RotS but I could not tell you what makes the Sequels PG-13 compared to the PG films. And why is 13 the age we draw the line at? And why is it 14 for TV instead?)

I think TCW confuses a lot of people because it jumps around a lot; some episodes are about Jar Jar or the droids, and then some are, you know, Umbara. But on a rewatch, even some of the more serious episodes like the Citadel or Kadavo arc still tend to have a more juvenile or simplistic tone/writing style, like repeating information a lot or joking in the middle of the mission (like right after Echo died, hello?!). This actually feels like a writing issue to me, like maybe the writers weren't very clear on what they were going for. (Reminds me also of the only episode I watched of the live-action Atla, where compared to the original it increased the violence/death, but also dumbed down the exposition and didn't seem to trust the audience) Though there is also a clear difference between the seasons, again because the audience and characters are growing up as time goes on. I don't think TBB really had that issue though. It never talked down and it was much more tonally consistent, even in the lower stakes episodes.

Personally TBB feels generally grittier than TCW, though it doesn't really have any of the dark/gruesome deaths and "this is a kids show?!?!" moments like TCW (i.e. clones getting airlocked, decapitated, cut in half by doors, squished by Grievous, and whatever the ever living eff Colt's death was). Though actually come to think of it, there are a few things (like Crosshair killing civilians, the electro suicide pills, and the clone on Tantiss who got skewered (rip)) but I don't think they stand out as much, maybe because they're given the proper weight so they fit the tone rather than feeling out of place. Well, most of the time at least...

Like the friendly fire incident is probably one of the heaviest moments in TCW but I don't see it in those compilations, maybe because the characters respond appropriately and it fits within the Umbara arc. Verses when stuff happens in the middle of lighter more childish plot lines that feel more shocking because they are somewhat brushed off.

But also here's the thing. I think people get really fixated on the darkness/violence/death thing, but it isn't actually as big a deal as we tend to think. Like you'll find "this is a kid's show?!?" compilations for so many shows like these (with a similar age range, like Gravity Falls) that are just anything remotely creepy or intense or related to death, as if kids can't handle anything at all. Like I'll admit it's surprising sometimes (Infinity Train traumatized me bro lol) but most of the time I think we're underestimating kids. Like do you remember being 12? It's not that young.

There just seems to be this misconceived barrier, like the argument goes: "Clone Wars is just a kid show" "No it's not, look at this death scene!" But like there's death scenes in Disney movies all the time, you know? I think that's also why we get so many of these MA animated shows (i.e. Invincible and Vox Machina) that feel the need to overdo the blood and gore to like prove themselves as adult shows (bc again, animation bias).

As a writer that's just not really where the distinction is. This came up in my 'Writing for Children and Adolescents' class and we were all a little surprised when our professor said that death/violence is actually fine for middle-grade (8-12, the 'golden age of reading' and probably the equivalent to TV-PG). Like think of stories with ~12 year old protagonists like Percy Jackson, Harry Potter, Gregor the Overlander (tho Suzanne could stand to tone that one down imo lol). Basically, violence is okay actually. And most of the TCW and TBB characters are way older than middle-grade.

(Also I think the difference is usually more in the delivery. Like death and violence being more implied (no blood, or cutting away/seen with shadows), and themes/emotions generally being more clear, simple and stated upfront rather than more nuance, subtle and subtextual. (And tbh writing for kids is actually usually a lot harder btw))

The distinction we did learn about that has been most insightful for me has a lot more to with the story itself: what topics and themes does the story deal with? And what age group/phase of life does that speak to?

For example, Love You Forever is a picture book (generally considered 3-6 yr old range) but it deals with topics that are clearly aimed for an adult. It follows the parental character until they are on their death bed being taken care by their kid, that's not something a 6 year old would care about or relate to. That's why age of protagonist typically aligns too, bc they will be dealing with/worried about things that the reader is dealing with in their life too (like high school struggles vs career and family struggles etc).

Aaaand this post has (once again) gotten away from me lol so I don't feel the need to analyze all of the topics and themes in TCW and TBB, but basically look at what is being explored and how it is being talked about (since a lot of things, esp with war, aren't necessarily age exclusionary) and that can give you a good idea. I think it's clear TBB generally deals with things in a more nuanced and complex way than TCW (most of it at least, honestly the difference between seasons is stark). And there is a main emphasis on family and parenthood, especially with the very end speaking to both young adults growing up and moving out, and the parents letting them go.

TL;DR:

-Animation doesn't automatically equal for kids

-For kids doesn't equal lesser

-Not all kids media is the same bc not all age groups are the same

-Violence doesn't necessarily equal NOT for kids

-Age of protagonist and themes/topics are a better indicator

-The Clone Wars is def middle grade, and The Bad Batch is probably more YA to adult

-But nothing is exclusionary regardless

[mercutio-the-velaryon]

Just because we haven't seen the complexity of Andre's background doesn't mean it's not there, yes nepo baby but also second gen supe from single parent household (?), who is Black and queer but also tackling the weight of his father's legacy. He asks too much of people, he's irresponsible and privileged and he's just as awful as everyone else is I'm sorry. When he ran from the club after slicing that girls neck it was Jordan that pulled him away and got him to leave, none of them checked on Marie after abandoning her there either, nobody was manipulating Cate into hooking up with her boyfriend's best friend. The funny thing is Andre's actions were the only fucked thing that didn't contribute to Luke dying.

The thesis is they're all fucked up, everybody's messed in the head and traumatised. There's no real satisfying way for anyone to atone because they can't. They should all forgive themselves because they're the only ones that can and because dwelling isn't going to do anything and they have a college conspiracy to solve.

[applesandpavenders]

Been relistening to How to Train Your Dragon, and something I’ve noticed is:

Hiccup chooses his fate.

Like, I absolutely love the whole fate is ruling Hiccup’s life - playing games with him - I mean he is a walking “lost things magnet” to quote the witch. He seems destined to be king because there are so many signs - the blue snow, the swimming race, speaking dragonese, the dragon mark, the list goes on.

But. (And I only spotted this now) In the very beginning, when Gobber sends the boys in to steal a baby hunting dragon, the first dragon Hiccup ever has to train, he picks out one. He gets a nice easy basic brown (Horracow) and he probably would have been very happy with her. She’s obedient, holds similar non-violent beliefs as him, and would have been easy to train. He could have had a fairly ordinary life with her, nothing impressive but he’d have lived.

But Fishlegs didn’t get a dragon.

Fishlegs would have been banished from the tribe had Hiccup not decided to disobey the ‘only the strong can belong’ mentality and given up his dragon. Because he gives Fishlegs his dragon, Hiccup chooses Toothless. And Toothless. Toothless is the key to everything. Literally. *Looks hard at the lobster claw*

The point is, that because Hiccup chooses compassion over self preservation, he chooses to become king the wilderwest. He would rather do a hard thing, like find another dragon, than let his friend suffer. He would rather pick a dangerous adventure over those he’s responsible for, who he cares about, getting hurt. And that’s why, again and again, he always pick the path toward being king.

It’s the same when he saves Fishlegs by claiming he wrote the letter to Tantrum, and in the quest for the potato, and, finally, in how he defeats his father in the flashburn duel. Because dragons are people he cares about.

Yes, Fate chooses Hiccup, but only because Hiccup chose Fate first.

[melonisopod]

Mixed feelings about Professor Ji cause I think he's badass and cool and cares about his students in his own way but also maybe pick a way to teach college students that DOESN'T involve nearly killing or traumatizing them.

[xxplastic-cubexx]

hello!! i just want to tell you that your art is so goddamn scrumptious, you are literally feeding my xmen brainrot and I find myself smiling when i see your art come across my feed. I love how you draw charles, pretty privilege and post (lets be fr he's serving every time)

i hope you always have fantastic brainrot and id kiss your blessed hands for giving us the gift of cherik and charles xavier, you are literally an icon

hope you have a great day ahead of you and more!! you deserve it !!

well i'ma absolutely have a wonderful mornin after readin this AWWWW thank you so so much !!!! i haven't been postin xmen long, so it's been really heartwarmin seein the warm reception to my work in the wonderful tags people have been leavin on my posts- and especially gettin to answer the lovely asks y'all've been sendin in (❁´ ▽ `❁) !! im glad people also like my goofy text posts and esp quotes from my brother he really has no right being so funny at the most random times

i hope to be xmen posting a while: ive got at least 60 years worth of stuff to look through and ongoing, so i dont imagine my interest'll wane anytime soon :]] !!

[maximilliansblog]

i dont put proship dni in my bio anymore i just block people who constantly blog about "ACTUALLY READING BOOKS ABOUT PEDOPHILIA DOESNT MAKE ME A PEDOPHILE"

like yes that could be a true statement, but when a decent chunk of your blog posts are dedicated to that topic, it starts to make me wonder

and other blogs that look suspicious