#Walking quotes

[batcavescolony]

*Talia visiting Damian*

Talia: Damian, how are you? *glares at Dick*

Damian: I am doing well mother

Dick: *from behind him* *mouthing: why the fuck are you here?*

Talia: oh that's great! I see you have a new pet? *Mouthing back: to see MY son*

Damian: this is Haley, Grayson's dog, she's staying with me while he goes on a mission.

Dick: *flipping Talia off where Damian can't see* yep, he's so good with animals

Talia: I'm aware *throws a knife at him*

Dick: *throws it back*

[metamorphesque]

Walking with the Wind, Abbas Kiarostami (translated by Michael Beard)

[kimjun]

girls are like “I want a boyfriend” but reject everyone because none of them are their comfort characters

[quotelr]

Some people walk into our life and make us fall in love with our self.

Avijeet Das

[eelhound]

"The idea of reforming Omelas is a pleasant idea, to be sure, but it is one that Le Guin herself specifically tells us is not an option. No reform of Omelas is possible — at least, not without destroying Omelas itself:

If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms.

'Those are the terms', indeed. Le Guin’s original story is careful to cast the underlying evil of Omelas as un-addressable — not, as some have suggested, to 'cheat' or create a false dilemma, but as an intentionally insurmountable challenge to the reader. The premise of Omelas feels unfair because it is meant to be unfair. Instead of racing to find a clever solution ('Free the child! Replace it with a robot! Have everyone suffer a little bit instead of one person all at once!'), the reader is forced to consider how they might cope with moral injustice that is so foundational to their very way of life that it cannot be undone. Confronted with the choice to give up your entire way of life or allow someone else to suffer, what do you do? Do you stay and enjoy the fruits of their pain? Or do you reject this devil’s compromise at your own expense, even knowing that it may not even help? And through implication, we are then forced to consider whether we are — at this very moment! — already in exactly this situation. At what cost does our happiness come? And, even more significantly, at whose expense? And what, in fact, can be done? Can anything?

This is the essential and agonizing question that Le Guin poses, and we avoid it at our peril. It’s easy, but thoroughly besides the point, to say — as the narrator of 'The Ones Who Don’t Walk Away' does — that you would simply keep the nice things about Omelas, and work to address the bad. You might as well say that you would solve the trolley problem by putting rockets on the trolley and having it jump over the people tied to the tracks. Le Guin’s challenge is one that can only be resolved by introspection, because the challenge is one levied against the discomforting awareness of our own complicity; to 'reject the premise' is to reject this (all too real) discomfort in favor of empty wish fulfillment. A happy fairytale about the nobility of our imagined efforts against a hypothetical evil profits no one but ourselves (and I would argue that in the long run it robs us as well).

But in addition to being morally evasive, treating Omelas as a puzzle to be solved (or as a piece of straightforward didactic moralism) also flattens the depth of the original story. We are not really meant to understand Le Guin’s 'walking away' as a literal abandonment of a problem, nor as a self-satisfied 'Sounds bad, but I’m outta here', the way Vivier’s response piece or others of its ilk do; rather, it is framed as a rejection of complacency. This is why those who leave are shown not as triumphant heroes, but as harried and desperate fools; hopeless, troubled souls setting forth on a journey that may well be doomed from the start — because isn’t that the fate of most people who set out to fight the injustices they see, and that they cannot help but see once they have been made aware of it? The story is a metaphor, not a math problem, and 'walking away' might just as easily encompass any form of sincere and fully committed struggle against injustice: a lonely, often thankless journey, yet one which is no less essential for its difficulty."

- Kurt Schiller, from "Omelas, Je T'aime." Blood Knife, 8 July 2022.

[angelwings-crossbowstrings]

Y/N, giggling: You sneeze like a girl.

Daryl: How ‘bout I pound ya like a boy?

Daryl: …

Daryl: That didn’t come out right.

Y/N: I know what you meant. Your place or mine?

Daryl: Yours.

[book-place-incorrect-quotes]

Y/N: *knocks on door*

Rick: *opens the door* Hey, N/N, what can I do for-

Y/N: *grinning, wearing a witch hat* Trick or treat!

Rick: *confused* Trick or-? Y/N, you’re trick or treating in the middle of the apocalypse?

Y/N: *more serious now* Trick or treat

Rick: *sighs* You can’t just-

Carl: *appears next to Y/N out of nowhere, wearing a pirate hat and his eyepatch* Trick or treat!

Rick: Not you too-

Daryl: *appears out of nowhere behind them, wearing a blanket tied around his shoulders as a cape, excited* Did he choose trick?!

Rick: *scared now* Wh-what? N-no-

Michonne: *walking in with her sword and pointing it at Rick* Trick or treat?

Rick: *almost crying because he’s so confused* What are you even supposed to be?! You’re not even dressed up!

Y/N: She’s a ninja. Duh. Now, answer her question

[darylbae]

𝐝𝐚𝐫𝐲𝐥 𝐡𝐚𝐯𝐢𝐧𝐠 𝐚 𝐜𝐫𝐮𝐬𝐡🩰

i think daryl would definitely not realize it at first, in fact i think the group would notice it before him. rick would see the way daryl's gaze would linger onto you when he'd talk about a risky supply run. rick would of course tell michonne, who would poke a little fun at him. "you like her!" "shut up, i do not!" and it wasn't until he'd laid down for the night, that he had realized it. he'd think about your eyes, and how bright they were when you'd be talking to anybody. he'd think about the nervous tells you had, like bouncing your leg, chewing on your lip and looking around the room. he'd think about how, sometimes annoyingly, bubbly you were no matter what. it would typically bother him how happy you were mid-apocalypse, but he lets it slide more often than not. he would not pick up on this stuff if he didn't have a crush. he'd be hyper-aware of how he acts around you, after admitting to himself he had a crush on you. he'd glance at you, then quickly glance away, but always end up looking back over at you. he'd study your lips and how they moved, wanting nothing more than to feel them on his. most of all, he'd keep it to himself. because the last thing he needs is everyone finding this out. and making your friendship with him tense. carol could see through daryl almost too easily, so she's the only one who can get away with poking the bear. besides you. "you like her, huh?" carol would ask, and daryl would just roll his eyes. "so what?" "do something about it!" daryl had no understanding of 'doing something about it', despite his moody, careless attitude, he cared deeply about your friendship and wanted nothing to ruin that. rick was playing matchmaker and suggested the two of you to go out on a run, much to daryl's dismay. now he'd have to deal with his constant reminder of his crush on you, as well as you. there you were, sat sweetly on the hood of a car waiting for him, a smile plastered onto your face as you spotted him. "ready to go?" you asked, your voice smooth as honey and it had sent shivers up his neck. "get in." he'd mumble. "yes, sir." let's not talk about your use of the word sir, and what it does to him. he couldn't explain it, the authority of the word sir, just hit him in his sweet spot. he'd constantly look out for you on runs, even when going along with others, he'd volunteer to split up but stick with you. it wasn't like you were a nuisance, not all the time anyway, he just loved being there for you. he'd walk behind you, trying to be a gentleman and stop himself from gazing across your body as you walked. you were the total personification of sex. "can i bring this back?" you'd ask, picking up something stupidly unnecessary, this time it was a small, pink, glittery cowboy hat attached to a pink headband. "will it help us?" he'd respond, not even looking your way, but still having to keep you entertained. "no." you'd respond, glum face as you look down at it back on the shelf. "then i think we found our answer." daryl was always a bummer, but you had gotten used to it. you knew how deeply he cared for his people, so what was a little grumpiness. but you'd always return back, and find whatever stupid thing you'd found on a run, sitting on your bed by the end of the day.

[arrowenchantress]

Y/n: Do you ever feel bugs on you when there aren’t any?

Rick: Those are the ghosts of all the bugs you’ve killed.

Y/n: …….

Daryl: Look what you did, you scared them. Stupid idiot.

[twdxtrevor]

Y/N: would you love me if I was a worm

Daryl: why would i love a worm

. . .

Y/N: (hours later) *sighs loudly*

Rick: what's wrong y/n

Y/N: daryl said he doesn't love me

Daryl: AS A FUCKING WORM

[daddygrimes]

carl: why are you holding hands?

y/n: studies show that holding hands can reduce stress.

carl: oh, i though you were dating or something.

daryl: we are.

y/n: we’re also really fucking stressed.

[hamletthedane]

Love that Oppenheimer is a deeply disturbing horror movie about a man forced to accept that he is, in a person, the representative manifestation of mankind’s evil in committing one of the greatest horrors of human history - LITERALLY acting as the modern Prometheus, tormented by his sins for the remainder of time. Knowing that he will never be pitied and his actions will forever be utterly unforgivable because the blood of genocide and the potential of total human annihilation will eternally drip from his hands.

But also the simultaneous indictment by the film that to blame a single person for the Manhattan Project is to refuse to accept your own capacity for great evil if the ends ever seem to justify the means, and the culpability of every member of a species that lets itself create something so unspeakably terrible.

Hate that twitter’s take on such a nuanced and brilliantly handled examination of those issues is “movie bad because protagonist not evil enough.”

[oneeyedgrimes]

Carl: “you look very pretty today y/n”

Y/n: “how sweet of you Carl thank you“

Daryl watching from behind y/n: …

Later in the day

Y/n: “Daryl I haven’t see you all day where you been”

Daryl: “I don’ know why don’ ya go ‘nd ask Carl”

Y/n : “what- Daryl are you jealous?”

Daryl: …

Y/n “ Daryl he’s eleven?!”

Daryl mumbling: “ tha’ ain’ a excuse”

Y/n: “ he’s a kid dare”

Daryl: “ don’t matter ta’ me”

[incertaepersonae]

Y/n: truth or dare?

Daryl: truth

Y/n: kiss me

Daryl: aight, comme'er

*A few moments later*

Glenn: you didn't even chose dare

Daryl: well, I TRULY wanted to do that, so it still counts

[shadowhaert]

missing someone bad for you

trista mateer / trista mateer / sue zhao / u.k / u.k / clementine von radics / trista mateer

[angelwings-crossbowstrings]

Man over the radio: I have one of your friends.

Y/N: Which one?

Man over radio: The annoyingly quiet, growling one.

Y/N: Oh. You have my boyfriend. He’ll be okay.

Man over radio: Now, let’s talk trade.

Y/N: Why? He’s gonna be loose and stab you in three, two—

-Radio silence-

Daryl over radio: Could’a at least pretended to be worried.

Y/N: See you at home.