#as much as they trust one another.

[shriekshrike]

y’know what’s really interesting about last night’s episode is that it really revealed the BIGGEST flaw that bells hells has as a party:

they don’t fucking trust each other enough. or rather, they don’t trust themselves.

sure, they have the “you can have my back, you can save my life, you can heal me and switch places with me in a fight, you can head into danger and come out just fine” trust because if they didnt, they wouldn’t have made it this far. literally.

but they’re all so fucking careful when it comes to their suspicions! chet never says anything to anyone about dusk, orym doesn’t say shit about reading chet’s and dusk’s lips, imogen doesn’t say boo about not being able to read dusk’s mind. it’s not that they don’t think the others aren’t capable, but more like “if i don’t get all my ducks in a row no one will believe me” which!! is so much. to think about.

because when it’s said like that it’s not like they don’t trust one another, it’s more like they DON’T TRUST THEMSELVES individually! which makes so much sense! ashton got betrayed by ppl they thought they knew better than anyone else in the world, FCG finds out someone they thought was dead is actually alive and never bothered to get them back and they’re also fucking glitching more and more often and he finds out not only did dancer not make them but also they are MUCH MUCH older than anything or anyone else they’ve ever met (pre divergence BABY aeor is for LOVERS nd robits), imogen was a hermit in her own fucking home bc no one wanted to be around the girl who could get into your head (not like she had a choice sometimes) and she doesn’t trust herself not to somehow cross lines with people whether that be on accident or on purpose, laudna licherally spent 30 years post-death being ousted from town to town because people found her a freak and a witch and has a DEAD NECROMANCER WHO KILLED HER IN HER HEAD, fearne is slowly coming to realization that her parents maybe weren’t sending her post cards all those years and that her life really wasn’t all it was cracked up to be and her memory is a little fucky (that feywild shit, huh), orym still probably feels residual survivor’s guilt in being unable to protect the one person who really truly mattered to him and sees it as a failing in himself rather than just something that happened, chet is a werewolf who literally gets run out of towns because of what he is and he could literally lose control if he’s too hurt or out of it and hurt someone else (as seen w orym)

like they’re so...aware of the trust they have for one another, but because they don’t trust themselves, they never SAY SHIT bc they’re always second guessing their suspicions which is so fascinating to watch; they don’t trust themselves enough to follow their instincts to trust one another even moreso. they’ve all got like folie a deaux but it’s mass imposter syndrome instead.

and it’s not like dusk knew that abt the bells, but it worked so well in dusk’s favor bc even if it was an 11th hour realization and discovery for the pc’s who did start to get suspicious, it would have been enough time to maybe do something. but they DIDN’T and it kinda doomed them!

after this i hope they get more...confident in their own capabilities. or at least learn to trust their own guts without needing confirmation or waiting for all the chips to land. sometimes, you just gotta listen to the sirens in ur head because that’s the part of u that wants u to survive no matter what.

dusk says a lot of shit and idk how much was truth laced with the sweetness of lies you wanna hear, but they got one thing fucking right. bells hells are special. and they gotta realize it before it really lands them in hotter fucking water.

[inklessletter]

"Eyes on me. Yeah. Good boy."

---

Thank you so much for trusting and sticking around.

Steve says thank you 💛

[ruporas]

invisible scars (referenced previous talk here)

[ID: A colourless, digital Trigun comic of Vash and Wolfwood talking about Wolfwood's scars. They're both laying in bed and topless. Vash lays on top of Wolfwood, playing with the rosary around his neck. Then, Vash kisses a spot on Wolfwood's chest. Wolfwood asks, "What are you doing?" Vash smiles sadly, "You got shot here. In the last town we visited. You didn't even bother moving."

Vash props himself up over Wolfwood, who frowns slightly. Wolfwood is quiet for a moment before he says, "You remember that, huh?" Vash grabs Wolfwood's left wrist and brings it to his face. "And here." He kisses another spot there. "When you helped free the hostages from that robber..." Wolfwood dismissively says, looking away, "Was a lucky shot." Vash huffs, “Don’t brag. Jeez.”

Half of Wolfwood's expression is shown, eyes returning to Vash who is now sitting up, continuing to say, "And..." Vash goes on and kiss Wolfwood's right palm. "You got cut here, even though that girl was aiming at me." A moment from the past flashes, of Wolfwood grabbing a knife aimed at Vash, his hand bleeding.

At present, Vash moves down and puts another kiss on Wolfwood's right shoulder. "And here, from watching my back." Another memory flashes of Wolfwood and Vash back to back. Vash looks back as Wolfwood grins while holding Punisher, bleeding from multiple gunshots in his shoulder.

"And," Vash combs up Wolfwood's hair to reveal his forehead, "Here." A final memory shows Wolfwood with a regeneration vial in his mouth while getting shot on his temple. The next panel is framed in blood with Vash at the center, eyes wide and stunned in horror. The next panel is a closed up shot of Wolfwood's eye, locked on Vash's face.

Back to present, Vash’s head is bowed down as Wolfwood raises a hand to his nape and says, “Spikey.”

Wolfwood looks serious and frowns as he says, "We talked about this. Those were my decisions. They're not there anymore. Forget about them." Vash looks very sad before he smiles ruefully and says, "I still see them. All the time." He leans down so they touch foreheads. Wolfwood’s sorrowful expression can be seen as Vash says, "You protect so much. I could never forget what you've done to me. And many others..."

In the last image, they're drawn more cartoonishly. Wolfwood sweats and asks, "You don't actually remember every wound, right?" Vash points at a spot on his chest. "Kuroneko left a scratch here 7 times." Wolfwood, startled, says, "Why the hell are you keeping count—" End ID]

Credits for ID here and here

[novelconcepts]

One of the most fundamentally interesting things to me about YJ and writing fic, specifically, is how the blame changes hands depending on the story. On whose perspective you're writing from. On whose story it is at a given moment. The very thing I dislike about viewers missing the point becomes so fascinating to me from within the narrative. Who are these characters when seen through the eyes of their peers?

Who does Jackie become? If you're Shauna, she's the love of your life, and your greatest rival, and the other half of your soul, and the person you blame for your dead dreams. If you're Van, she's the respected captain who earns none of your respect in the woods, the one who left you to die without blinking, the easiest target for teenage malice. If you're Natalie, she's competition for affection, the blabbermouth who can't leave well enough alone, the hands putting themselves to no good use. If you're Jackie? You're just a girl. You're so tired. You're so scared. You're losing face a little more every day, and you're made of despair, and you can't even trust your best friend. It's not your fault. It's not your fault. It's not your fault.

Who does Lottie become? If you're Natalie, she's your direct foil, the splinter under the edge of your thumbnail, the smart mouth to match your own, the confusing amalgamation of normal friend and mad ritual. If you're Misty, she's the first shred of obvious power in months, a leader who might need to be nudged back into line, a fascinating exercise in hitching your wagon to the right star early on. If you're Taissa, she's flat-nuts and endlessly frustrating, she's got your girlfriend's full attention, she's incredibly dangerous. If you're Lottie? You're just a girl. You're so tired. You're so scared. You've built a pedestal you can't keep your balance on, and you're not sure if you're right or going crazy, and you didn't want this. It's not your fault. It's not your fault. It's not your fault.

From outside the narrative, there is no bad guy. There is no blame. It is no one's fault. It is Man v. Nature, they are doing the best they can with an impossible situation. They're all trying to contribute what they can to the story, for better or worse.

From inside the narrative, you are a teenager trapped in a society constructed entirely of bare-bones-survival with the wildest assortment of girls. From inside the narrative, to stay human, you have to love and fight, respect and judge. Every story changes the game. Every story shifts the blame. A hero in one has the bloodiest hands in the next. And that, to me, is such a thrilling sandbox to play in.

[scintillyyy]

there is something where. hm. like yes, tim can be condescending towards steph, he was written by dixon, it's inevitable. but also since, for a very long time, he was the only one supporting steph's decision to be a vigilante & the only one giving her any sort of attempt at formal training, tim is also the one who tends to get held accountable for her by the adults in their lives when she does mess up, or acts reckless, or makes a mistake. because the fault is considered to lie with his failure to teach her properly, so even if it shouldn't be tim's fault, because it's the fault of all the adults who are refusing to take any sort of responsibility, her behavior does end up reflecting on tim.

so you end up with this thing where to steph: her and tim are equals in a relationship. they are similar aged vigilates & the disparity in their training and experience isn't that important. because she's trying and working really hard & her methods do end up getting the result she desires/end up working in some way, shape, or form, so she's doing good enough to be on equal footing with tim wrt this whole vigilante thing. after all, they're both kids! there's no real difference between them except tim gets a little more training than her. and she's not wrong in that if an adult were to actually officially sanction her & train her she would be on more equal footing with tim as far as they're just two kids who are choosing to be vigilantes.

where to tim he's operating with the knowledge that that their relationship is one thing, but their jobs as vigilantes is a completely separate thing. and them being equal vigilantes is really not considered the case to any other active gotham vigilante. experiencewise, before steph even showed up on the scene, tim had had at least his six months of dedicated training with batman & occasional training with nightwing. he had also had his weeks of dedicated daily training in paris with the rahul lama & then his speed training with lady shiva. he does have probably close to at least 8-9 months of training and experience and working as robin on steph at her first appearance. he's also at a point where he is considered by the adults around him to be trained & skilled enough to be able to train jean-paul valley at that point. this disparity only worsens during the time before they start dating where tim finishes his training in paris with the rahul lama along with getting even more ongoing specialized training from batman & nightwing and steph...continues to be self taught. so the adults around them have expectations for tim that they don't necessarily have for steph, and since tim is the one training her & the expectations for tim at this point are that he's an autonomous, skilled vigilante in his own right (and has been since he was left in charge of azbats), if steph does mess up & tim is the one choosing to sanction & train her, then her mistakes & recklessness becomes tim's fault for not training her properly. although in a perfect world, she wouldn't be his responsibility in this way, that's just how everyone (batman, nightwing, the birds of prey) views it. & like. as someone who takes students at her job. it's not entirely wrong that while a mistake made by a student is on the student & it's also very much considered ultimately the fault of the instructor for failing to recognize that the student wasn't ready or skilled enough for something that they made a mistake, because as the more experienced professional, it's on you to recognize the limitations of the student & supervise/guide them accordingly. which tim is in the position of everyone feeling that steph is his responsibility to manage, because he's often the only one who thinks she should be given a chance & is trying to give her a chance.

it's an inherent power imbalance, formed the the fact that tim is the only one willing to instruct her for a long time, sanctioned & reinforced by the adults around them.

[forecast0ctopus]

Any advice on drawing McCoy? I’m not used to drawing ancient wrinkley bastards (affectionate) and it’s surprisingly tough v-v

FOR SURE lmao i made. a diagram. just a warning that i am going to be irritating and long winded because u just hit a topic i really like sorry lmao

so first off i did some traces just to show whats there vs redraws to show my interpretation

ive said this on other asks but again jsyk, tracing isnt bad!! its a tool. theres some stuff with intellectual property and whatnot but using tracing to study shapes and forms is a really valuable practice.

also just taking some time to learn facial structures and anatomy is super useful, reading what bones and muscles are where and how they interact with one another. taking this info and staring in the mirror and moving your face around and thinking about it. just really furthers understanding of how the face works. trying to sound normal about this but i love anatomy and motion and physics and whatever

anyways im going to go through all the numbered points so there's no confusion. 1. forehead lines - self explanatory. more prominent when brows are raised 2. crows feet - at the outer corners of the eyes, more prominent when smiling or squinting 3. nasolabial folds - the folds that go from the corners of the nose to the corners of the mouth. more prominent when the mouth is wide, like smiling 4. brow furrow - self explanatory, most prominent when brows are furrowed. mccoy tends to have two right next to his eyebrows, kirk has one in the middle. everyones face works different lmao 5. chin crease - caused by how the chin and lower lip interact. 6. nasojugal groove - start from the inner corners of the eye and can extent over the cheeks. everyone has these and idk why people dont like them i think theyre really cool!!!! but Society. i guess. :/ 7. eye bags - caused by the skin sagging beneath the eyes. mccoy isnt even that old in tos i think hes meant to be mid 40s by the end of the 5 year mission, hes just got really prominent eye bags lmao 8. idk what the name is for these, but when the mouth is wide and pushes the skin to the sides, these folds sometimes form outside of the nasolabial folds 9. philtrum - the groove above the upper lip. i dont usually draw this but mccoy's struck me as prominent enough that i usually draw it on him 10. masseter - the muscle that moves the jaw up and down. its a pretty rugged muscle and while i wouldnt say mccoy's is especially prominent, it kind of extends that nasojugal groove from certain angles/positions 11. orbicularis oris - mouth muscle, usually easier to see when lips are pursed or frowns are pulled. mccoy's is pretty prominent from 3/4ths or side, his mouth tends to protrude in profile 12. this isnt a muscle but more of a line defining the planes of the face, but since i drew it i felt i should explain lmao

a few points:

im an animator i tend to exaggerate and emphasize certain things so i usually make him more square.

i like to combine eyebags and crows feet for brevity/flow, same with nasojugal grooves, eyebags, and masseter lines. my approach is always subject to change based on pose, expression, reference image, etc.

i take out details that i deem redundant or cluttering and keep what details i need to make things feel Right

all this info is applicable to any character of any age, its just in how you apply it and facial proportions that willl change how old a character is perceived to be

there's a lot more with drawing a Character rather than an Actor, just because the features are there doesnt necessarily mean things will feel correct? its very much in the mannerisms and poses and expressions

i only went over my approach to his likeness but not really body type or posing or anything idk if u want that i could always try to answer that later haha

_______________

anyways all that info kind of exists nebulously in my brain while i draw its not like im sitting there thinking Must Draw. Nasolabial Fold...... i jsut do what feels right with the visual info i have. also i love specificity in faces.... i dont like to be a hater but when every character is drawn the same it pisses me off a little lmao. so

also dont take my word as The Only Way to do anything i just draw how i like to draw and no one should feel like these are things that Must be done to be a good artist or anything do whatever the hell u wanna do

[onaperduamedee]

"Moiraine Damodred..." "No, if you have ever loved me, don't do this." "I command you to close the Waygate."

[yb-cringe]

whats fun abt fitpac is that if you were to ask them individually who they thought the smartest between them was they would point at each other at the same time without even hesitating.

[general-cyno]

apparently it's the 15th anniversary of zoro's sacrifice in thriller bark (not sure if manga or anime though) so yknow. time for more zolu of course

one of the many things about zoro and luffy is that despite how their approach to certain situations might differ at times, they're still pretty similar at their core, sometimes to a comical degree (see: their definition of what a hero is back in fish man island arc). and this understanding of how the other works is what leads to moments like jaya,

this little one in water 7/enies lobby,

and follows consistently all the way to wano arc.

and I was thinking the other day about how their childhoods too kinda mirror or parallel each other's in a way that emphasizes (to me, at least) how special zoro's particular protectiveness toward luffy is, and why luffy relying on zoro that way is just as special.

the specifics of their childhood stories are different but both luffy and zoro have a turning point of sorts that's marked with the grief and loss of sabo and kuina, respectively, which leads them to say these:

(I cropped the panels, but luffy's also crying here)

it's important to note zoro and luffy had dreams/aspirations before this, to become the greatest swordsman and luffy's secret thing that we've yet to learn about (that ace, sabo and the crew now know). however, losing kuina and sabo is what prompts them to, on top of that, strive to become stronger for other people's sake. for zoro, it's his way to honor his friend and fulfill their shared dream. for luffy, it's to avoid losing the people he loves.

throughout the story, zoro and luffy end up expressing similar frustration and sentiments due to this. there's zoro innerly chiding himself for being too weak as he trains in the aftermath of arcs like little garden, alabasta and thriller bark, where the crew get stuck in situations in which zoro isn't able to help as he wishes he could (the wax cake, the sea prism stone cell, kuma). there's luffy swearing he won't lose a single member of his crew even if it kills him (the davy back fight) and reproaching himself for not being able to save any of the straw hats in sabaody, with the worst of it right after losing ace in marineford.

(and man do I have thoughts about bon turning into zoro, out of all the straw hats, back in impel down.)

anyway. as to why all of this is meaningful - when zoro agrees to join luffy, he mentions that his goal to become the greatest swordsman is all he has. yet as the straw hats go from journey to journey, and with a certain emphasis in luffy, you can see how zoro's view slowly shifts. he's now driving himself to become strong to protect them as well, to the point he's willing to set aside his ambition and offer his own head in exchange for luffy's, if it means he can ensure luffy's life and safety. that's huge. as mihawk inwardly points out, zoro has something, someone he values even more than his ambitions and pride. and it's through his adventures with luffy and the crew that he becomes closer to achieving that initial dream of his.

whenever people wonder why zoro's as loyal as he is to luffy, aside from all the reasons why luffy as a character has earned that loyalty through his actions, I also remember that one line koushiro said to zoro in a flashback: "the pinnacle of swordsmanship is the power to protect what one wishes to protect and cut what one wishes to cut. a blade that injures all that it touches isn't really a sword." while sure, it works in the context of later power ups like haki, imo it perfectly captures zoro's character growth too and what luffy's given him. the current zoro isn't lost or directionless with only one purpose in mind or to live for, bounty hunting as a means to survive. he has a home to return to, people to cherish, to protect and keep getting stronger for, people who nurture him in turn. kuina's death is something zoro couldn't have prevented, and losing people in accidents like those is something that could happen again, but still within the limits of what's preventable - zoro can protect his friends now.

as for luffy... zoro kinda steals the spotlight when it comes to grand gestures of loyalty/devotion and being the MC of the story means luffy fights for different people (both crew and non crew), carrying their wishes and hopes as if they were his own. he gets help and learns from others as well and all members of the crew are important for luffy to achieve his dream one way or the other, but the way he relies on zoro specifically is so subtly meaningful to me. we don't get as much insight on luffy's inner thoughts, still, we do have context.

for someone like luffy, who is at his innermost genuinely terrified of being alone and losing the people he loves, the fact that he trusts zoro to protect and keep everyone safe (even luffy himself) is so good. as shown above, luffy vowed to become strong in the first place to ensure he'd never go through loss like sabo's again and this vow is all the more renewed after ace's death. luffy has to be strong for everyone but... the fact that he can trust zoro to follow his lead even when others might not understand his reasons to do x or y, that he's so unwavering in his faith that zoro will protect the others when luffy can't, entrusting the people he cares about to zoro, whom luffy also cherishes - it's all pretty special. everyone in the crew has their strengths and zoro may not be the only fighter, but all of them, including sanji, fall under his protection whenever it's needed.

it's not only about raw strength though. zoro's also there to set luffy straight and remind him of what's important when the circumstances arise, like in water 7 or punk hazard. and even when they don't necessarily agree, like wrt vivi's situation after the reverie in marijoa, luffy knows when zoro's right and acquiesces (albeit grumbling a little) because, once again, he's also aware that zoro wouldn't just risk everyone's safety. luffy listens to him. and their reunion in wano too, luffy's sheer happiness at the sight of him again, is a very clear example of how much luffy adores zoro even beyond all that.

although luffy isn't aware of what happened in thriller bark (that we know of), zoro's actions are proof of why luffy trusts, has faith in, and relies on zoro as much as he does and why it's so important for luffy to have him by his side, considering how afraid he is of being unable to keep his loved ones safe. this is more on a speculative note, but I can imagine how comforting that must be for luffy - to not shoulder that on his own.

happy anniversary!

[rush-the-stars]

thinking depraved thoughts about nanami x gojo x reader mafia au

[luck-of-the-drawings]

[OLD ART ALERT] A COLLECTION OF SCENES FROM THE GILLIONS CATSCRATCH ARC THAT BROUGHT ME GREAT JOY. i love fishy chips especially when its just gillion being delirious and violent and hostile

[ria-the-camel]

I love you I will always love you. But the way you're hurting yourself is scary scary. I don't know what to do with it. You're lying to me, you're hiding important, dangerous things from me. Because you don't want to stop. You don't want me to leave you, and I never will, but you're going to leave me. You believe it's the only way for you to be useful. I can't make you change your mind. I'm going to lose you. I love you.

[extravagav]

AND WE JUST DONT TALK ABOUT THIS?!?!?!!????

[golyadkin]

Long road to Colorado

[halloweeneva]

You die. You’re a child and you die and your God walks away when you ask him why.  You’re fourteen and scared. You’re dead and no one saved you.  This wasn’t supposed to happen to you. Your God promised to protect you. He promised. He didn’t. You get to come back and it is in spite of him. The rules are broken and maybe so are you. You don’t know what to do when all of your faith has been misplaced and the one person who was always always supposed to protect you didn’t. You are a creature of faith and you don’t know how to trust anymore. You fight and you bleed and you’re not alone but you can’t go home.  

The only people who care enough about you to try and save you are also children. You’re all children and you’re dying. The only thing you can do is try. You do. You drag yourself up. Kicking and screaming and clinging by your fingertips. You are broken and bloody and bruised but you are alive and you save yourself. 

You try to start over. You invent a new god. Try to brandish it like a shield but some part of you is still fourteen and small and dead on a cafeteria floor.  Your parents don’t want you anymore. You loved them. You love them. You don’t know how to talk to them. They loved the version of you that died surrounded by strangers. Some part of you is sorry that you didn’t die. That you changed instead.  Maybe you came back wrong. 

You don’t know if your parents would care if you died again. 

You die again. 

You tried so hard and it isn’t fair. You spoke to the universe and it spoke back and it still isn’t enough. You don’t know how to trust anyone to protect you. Every time you try you see your own broken body on the floor.

The place inside you that is supposed to hold your faith has cracked and broken and the sting of betrayal still smarts when you try to touch it.

You die and find God broken and dead and sobbing on the floor. She looks just like you. She is a little too much like you. You reach out to her and she is angry and betrayed and so so familiar. She kills you. You are sixteen and dead. She can���t save you. Maybe you can save her. You come back. Kicking and screaming and crying you drag both of you back to life.

It’s hard. She doesn’t know how to be a god. You don’t know how to be a cleric. You’re both trying. You have to hope it will be enough. You look at her and see yourself and sometimes you can’t fucking stand it. You love her. You need her. She is so fragile you’re fourteen sixteen and can barely hold yourself together let alone somebody else. You don’t have a choice. You need each other. It has to be enough. 

She dies and it’s your fault.

[veggiecorner]

I woke up within a cold sweat with this botw/totk zelink headcanon but i like to think Link actually proposed to Zelda but in an unplanned unofficial way. Like...a week after totk happens and they're having their first breakfast at Hateno (or maybe Akkala) and Zelda's rambling about how she's sad she never recorded ancient food recipes she's tried at her time in the past and Link just stops her and goes "hey...do you want to get married?"

Zelda's visibly like ??? huh??? and he repeats it. She's a lil spooked cause where is this coming from. Also she's dense so she says "well...I've...assumed I'll be married sometime in the future..." not connecting that he's literally proposing to her and he smiles so sweetly at her and says "I mean with me. Will you want to marry me?" And he steps over to her side of the table and finally gets on one knee.