#but i felt like making it myself

[daisey14]

me w comunity

[butchfalin]

the funniest meltdown ive ever had was in college when i got so overstimulated that i could Not speak, including over text. one of my friends was trying to talk me through it but i was solely using emojis because they were easier than trying to come up with words so he started using primarily emojis as well just to make things feel balanced. this was not the Most effective strategy... until. he tried to ask me "you okay?" but the way he chose to do that was by sending "👉🏼👌🏼❓" and i was so shocked by suddenly being asked if i was dtf that i was like WHAT???? WHAT DID YOU JUST SAY TO ME?????????? and thus was verbal again

[inkskinned]

you're in the habit of denying yourself things.

if someone asked you directly, you would say that you love a little treat. you like iced coffee and getting the cookie. you drink juice out of a fancy cup sometimes, and often do use your candles until they gutter out helplessly.

but you hesitate about buying the 20 dollar hand mixer because, like. you could just use your arms. you weren't raised rich. you don't get to just spend the 20 dollars (remember when that could cover lunch?), at least - you don't spend that without agonizing over it first, trying to figure out the cost-benefits like you are defending yourself in front of a jury. yes, this rice cooker could seriously help you. but you do know how to make stovetop rice and it really isn't that hard. how many pies or brownies would you actually make, in order to make that hand mixer worthwhile?

what's wild is that if the money was for a friend, it would already be spent. you'd fork over 40 without blinking an eye, just to make them happy. the difference is that it's for you, so you need to justify it.

and it sneaks in. you ration yourself without meaning to - you don't finish the pint of ice cream, even though you want to. the next time you go to the store, you say ah, i really shouldn't, and then you walk away. you save little bits of your precious things - just in case. sometimes you even go so far as putting that one thing in your shopping cart. and then just leaving it there, because maybe-one-day, but not right now, there's other stuff going on.

you do self-care, of course. but you don't do it more than like, 3 days in a row. after that it just feels a little bit over-the-edge. like. you can't live in decadence, the economy is so bad right now, kid.

so you don't buy the rice cooker. you can-and-will spend the time over the stove. you can withstand the little sorrows. denial and discipline are practically synonyms. and you're not spoiled.

it's just - it's not always a rice cooker. sometimes it is a person or a job or a hug. sometimes it is asking for help. sometimes it is the summer and your college degree. sometimes it is looking down at scabbed knees and feeling a strange kind of falling, like you can't even recognize the girl you used to be. sometimes it is your handprint looking unsteady.

sometimes it is tuesday, and you didn't get fired, and you want to celebrate. but what is it you like, even? you search around your little heart and come up empty. you're so used to denying that all your desires draw a blank.

oh fuck. see, this is the perfect opportunity. if you had a mixer, you'd make a cake.

[bizarrelittlemew]

CREW || first episode of appearance ⇉ season 2 episode 8

[bred-is-a-dumb-name]

Anyone remember that drawing challenge from a while ago where you would draw your otp or OCs as the go for it nakamura cover??? Yea well I like the second Manga covers pose a lot more so I did that...also it's klapollo <3

[theonewhowails]

Golden Fleece

[teddybeartoji]

it's not often you get to see a sleepy suguru.

it's not like he's not tired – he's fucking exhausted; the dreams just don't seem to like him all that much. but he's usually toughing it out, trying to seem as composed and put-together as possible. the dark skin underneath his eyes betray him, though.

so you don't really know why today is different. is he just more tired? have all of the sleepless hours caught up with him? or is it just you; could it be that your body is the most comfortable place to rest his heavy head? or is it your perfume that's soothing him to sleep?

or is it the fingers in his hair?

he doesn't really let others play with his hair too ofter either. satoru and shoko had been the only exceptions but that was before you came along. satoru uses his hair as a stim, something to play with when he's bored. suguru has taught him manners though – a few slaps against satoru's fingers and chest to remind him to be more careful. and shoko is just more likely to brush a strand from his eyes or help him tie them up in a half-assed bun whenever his own hands are full with whatever.

you like playing with hair, always have and always will. it's relaxing and it's fun and it's calming and you love it. when you first met suguru, his hair was the second thing you noticed about him (his keen purple eyes being the first). an irresistible itch burned in your fingertips everytime you saw him, everytime he wore his hair down. it just looked so pretty and soft.

he takes very good care of his hair, you know that much. specific shampoos and conditioners, masks and all – he's all in. and nobody bats an eye. not that they should but satoru definitely gets made fun of because of his stupidly expensive collection of figurines and shoko gets teased for her silly mug shelf – and yet, neither of them ever comment on the bottles and tubs of fancy products that lay on his bathroom counter.

his hair also smells good. the compliment always hangs on the tip of your tongue but stays hidden in fear of coming off too weird. too creepy. but he doesn smell good. even with closed eyes and ears and you'd find him in a crowd. you wonder whether he knows that.

as you grew closer and closer, the now scorching itch only doubled in need. you never did gather the strenght to outwardly ask him – if you could play with his hair? if you could caress it? comb through it? it was an accident.

a simple gloomy friday afternoon: you're both lazing on your couch, staring at the screen. it's funny – you find yourself muffling your already quiet bursts of laughter, suguru alongside you. he's sitting close by, closer than usual. you don't ask him about it.

he asked to come over; something-something about being sick of his own apartment. you understand that, so you tell him that your home is his home (you'd tell him that even if you didn't understand). you hear the faint smile when he thanks you over the phone.

even when he looks like he hasn't slept in months – he looks good. you can tell he's overexaggerating his smile a bit but don't say anything about it, rewarding him with a grin of your own. his eyes flick to your lips and how they curve and he thinks about how warm it feels to look at you. maybe he's not exaggerating anymore.

your arms open wide, inviting him into you and he obliges, as always. he smells good. as always.

his hands lock behind your back and your behind his neck. your hearts meet and they greet each other with a fastened beat, eager to be in sync – to feel each other again.

he pulls back and the corners of his eyes crinkle when he smiles. he's not doing it anymore and you're happy to relieve him even if it's for mere moments.

he's wearing a sweather and his hair is down. he has lip gloss on; you try to think whether he's more of a mint guy or more of a shea guy. it remains a mystery.

and now you're on the couch with two cups of warm tea waiting for you on the small table. he smells good. he's so close. he snickers at the screen and you can't take your eyes off of him. it's the same small crinkle of the eyes and the faintest pink tint on his cheeks.

you know he knows that you're looking at him. you've been told to have a staring problem and he's just an observant guy. it's a terrible match. or a perfect one.

he doesn't say anything though; instead he leans his head back and little to the side against the headrest (he's even closer now) and you find yourself shifting an inch aswell. perhaps magnets are involved? the iron in your blood pulling you together?

no, that can't be. you'd have to be polar opposites for that to work. warm-blooded and cold-blooded? would that work? you're getting too poetic and he's looking at you now.

it's an accident. it slips out on its own. you smell good. caught off guard by your own comment, you're about to apologize when a hand on your thigh almost makes you suffocate on the words stuck in your throat.

he laughs and it feels so good. he thanks you. he means it, you see it in his tired eyes. he likes the way you blush.

turning his focus back to the tv, you try to collect yourself. a deep breath in and a deep one out and a deep one in and a de—

a weight on your shoulder. he smells so good. he's so close. you peek down, curious as to whether this is a dream or not. but suguru's head is in fact laid on your body, sinking a bit more into you by the second. a deep breath in and a deep one out.

seeking for a more comfortable position, you snuggle closer to him. it's hard to focus but you're making it your sole mission to make him feel safe. your arm curls around his body, his shoulder, and rests right by a flock of his hair.

his cheek is now smushed against the top of your chest and the weight of love doesn't seem as bad as everyone keeps telling you. his hand finds a place around your waist; loosely – as if he's the one who's afraid to scare you off. silly.

his breath against you feels right and the butterflies in your stomach refuse to calm down. so you do what you always do when you get nervous – completely on their own, your fingers caress his hair. just smoothing over it at first but before you know it, they're combing through a strand and twirling the ends between themselves.

you wanna apologize, again, but the soft little grunt that emits from the man keeps you from doing so.

don't stop.

+ this is for @twentyfivemiceinatrenchcoat just bc it feels right

[juls-art]

Tucked away in the tent

–  

Kofi | Patreon    

[stuckinapril]

I will entrench myself in literature this year no matter what the fuck it takes

[uncanny-tranny]

Good news! You aren't required to make your hobbies and passions "marketable." In fact, your crafts, hobbies, and passions don't even need to be public if you so choose. You don't have to spend all of your energy becoming perfect if you aren't enjoying the process. You are not a product, you are a person, a creative, and your work also does not need to be a product.

[taffywabbit]

idk if i'm way off the mark on this, but the way some people are responding to that Guillermo del Toro interview about the decline of studio animation is a bit frustrating to me. specifically the bit where he talks about "emoji animation" and how everything is over-animated and pushed too far and things are rarely allowed to not be ultra-cartoony (y'know, because animation always needs to be marketable to children who are never trusted to have attention spans, right?). like, i think he's generally correct about it! but some folks are taking the wrong message away from that.

i've seen people going off about how "soulless" and "corporate" various recent examples are, and talking about these pieces of media as though they're the result of some kind of personal failing or lack of skill/range on the part of the animators, and it's just like. do people realize that's the only animation you're usually allowed to DO in the industry, unless you get incredibly lucky and land yourself on a project/studio that's unusually cool?

when i was in college for animation it was literally drilled into us nonstop that everything had to be pushed more, that exaggeration was not a guideline or a sometimes-treat but a hard rule that always had to be applied regardless of what was going on, because the viewer couldn't be trusted to pick up on subtlety and we sure as hell couldn't be trusted to convey it. you ever wonder why there's such a specific vibe to a lot of self-directed student films, particularly ones that are focused on character acting/interaction or deep emotions and introspection (especially when there's minimal/no dialogue)? it's because for a lot of young animators, they haven't had the freedom to experiment with realism and subtlety up to that point and they're likely not going to have it again for a while (or at all, unless their career path leads to higher positions where they might have more creative direction over the things they work on. which also becomes a lot less likely if they're anything other than a cishet white dude, for what it's worth).

i would LOVE to see more nuanced, realistic, understated motion and acting in animation. i WANT more characters to be able to express what they're feeling through natural body language and facial cues and for scenes to allow me to breathe instead of spelling everything out in giant bold flashing text all the time. what del Toro wants to see changed in the animation industry sounds great, and i hope others join him in seeking to revamp what modern animation is allowed to be.

but as things currently stand, and as they've stood for a long while now, most artists doing the grunt work on the shows and movies you see are completely at the mercy of corporations and networks who have a vested interest in producing a very specific kind of marketable and cost-efficient media all the time. (and by extension that style is ALSO what's taught in most animation schools, because their job more than anything is to grind you down into a perfect little sweatshop worker who will bend over backwards to meet quotas and get your work approved and not question the higher-ups, even if you have little to no personal investment in the projects you're working on, so that the studios who employ you can maintain their good reputations or whatever)

anyways idk what my point was here, this really just sorta became a rant and my views have undoubtedly been coloured by my own personal experiences (this kinda shit is largely why i dropped out before my last year of animation school, for the record).

i guess just be kind to folks in the animation industry? they've had it fucking rough nonstop for well over a century (the majority of them are still not unionized and there's HUGE pushback against doing so in many places). i assure you they are doing their best to infuse the latest uninspired illumination flick or weird spinoff kids' show with literally any amount of soul they can. you don't have to like the stuff that gets produced by any means! be a hater! i'm certainly not gonna stop you. just remember where these creative decisions come from and why these conditions exist, and consider that when YOU watched something and thought "hmm that could've been done better", you can bet your ass someone actually working on it probably thought the same thing but couldn't do anything about it. these things WILL change as the industry itself improves, but in the meantime folks have to pay their rent, and that usually means doing what they're told and working in a way that will minimize revisions and meet quotas so they can keep their jobs. it sucks, but it is what it is.

[starry-bi-sky]

Stuck in the middle of a forest made of

Flesh and bones and they're all scared of

A lost little boy who has lost his heart

Fear's not enough, they have to

Tear him apart —-------

There are two things Daniel Fenton knows that his family knows as well: 

He’s adopted.

He can’t remember anything else before that.  

‘Adoption’ is a loose term, implying that they went through the official legal processes and troubles of adopting a child into their home willingly, and with the full intention of doing so going into it. That is not what happened. What happened is that Jasmine Fenton found a half-dead child, in strange clothing, in the middle of the woods at her Aunt Alicia’s cabin, and then she went and got her parents. 

What happened is that a twelve year old Danny woke up in the same cabin, wearing clothes much too big on him that didn’t belong to him, and with very little memory of before that moment. He wakes up like a spring being set loose, sitting up so fast he scares the daylights out of Jasmine Fenton sitting next to him. He wakes up, reaching for his sleeve for something that isn’t there, and when it isn’t his mind stutters, like he’s tripped at the top of a steep hill. 

When they ask him for his name, he tells them, clearing muddled thoughts from his mind; Danny. He’s twelve.

(He thinks that’s his name, at least. It sounds right; it feels right. If he thinks really hard about it, he thinks he can remember someone calling him that, utter adoration in their voice. So it must be his name.) 

The Jasmine girl convinces her parents to take him home with them, and they give him the spare guest room upstairs. He has nothing to fill it with.

It’s… a strange experience, to go to a ‘new’ home when he doesn’t even remember his old one. 

The official adoption process… happens. He can’t say it’s easy, or difficult. He’s oblivious for the most of it, Jasmine intends on helping him settle in and Danny can’t say he enjoys the smothering. He learns that he is stubbornly self-independent, that’s one new thing he knows about himself. 

His adoption papers say ‘Daniel J. Fenton’. Danny remembers staring at the name ‘Daniel’ for a long, long moment, something curdling sour in his sternum. His name is Danny, that he knows. But it’s not Daniel. But he doesn’t know any other way of saying it, so he keeps his complaints to himself.

(Jack Fenton boisterously claps his hand on Danny’s shoulder and jerks him around, grinning wide as he welcomes him into the Fenton Family. Danny’s mind blanches at the touch on his shoulder, an instinct snapping like the maw of a snake, telling him to cut off the man’s fingers for daring to touch him.) 

(He keeps the thought to himself, tension rising up his shoulders the longer Jack Fenton’s heavy hand stays on him.) 

They found Danny in the summer. It’s a perfect coincidence, Maddie Fenton says before she goes back into her lab with Jack Fenton. She says it’s enough time to allow Danny to adjust; that they’ll enroll him into the school year in the fall. Then she stuffs a canister of ectoplasm onto the top shelf, and disappears like the ghosts she studies back down the stairs.  

(There’s something eerily familiar about the ectoplasm sitting in the fridge, something unsettlingly so. Danny knows what that stuff is, but he doesn’t know where. When the house is empty, he takes a can from the fridge and inspects it.)

Jazz wants him to leave the house. Danny doesn’t want to step foot outside of the FentonWorks building until he has something that quells the feeling of vulnerability he gets whenever he does. He tried to once, and he felt exposed. Unsafe. 

He turned back around and went inside.

—-------

Where do we go

When the river's running slow

Where do we run

When the cats kill one by one

—------

One day, when the house is empty — or, as empty as it can be; the Fenton parents down in the lab, and jazz out with friends. Danny is making a sandwich, and he caves into the urge to flip the knife in his hands between his fingers. A childish impulse, but one he falls for nonetheless. It comes to him easily, like second nature, in fact. The slip of the blade between his fingers is seamless, flowing with an ease like water running down the wall.  

He’s almost startled by it; his body holds memories that his mind does not. Muscles that know which way to move and twist, limbs that know how to hold and how to throw. He continues twirling it, fascinated, as if he were a scientist discovering a new species of animal. 

It’s not for a handful of minutes when a new thought hits him; an impulsive thought that pops in the back of his mind like a firecracker; Danny moves without thinking. 

He turns, and throws the knife. The pull of his shoulder, the flick of his elbow, is familiar like a hug. He knows when to let go, and the blade flies through the air in impressive speed, embedding itself into the wall with a hearty, loud thunk. Sinking into the drywall like butter. 

Danny stares at it in shock, he feels relieved — about what? — before he feels the guilt. He scrambles across the kitchen to pull it out, heart racing in his chest at being caught, and prays no one notices the hole it left behind. 

(He runs up the stairs before anyone can find him, food forgotten, and hides the knife beneath his mattress like a guilty murder weapon.)

After that, he leaves the house more. It’s more out of fear of being caught than the desire to leave. But Danny is quickly learning that among all things, he is someone who was dangerous, before he lost his memory. Even with his mind in fractures, he is still dangerous. 

He’s not sure how to feel about that — he thinks he should be scared. He feels a little proud, instead.

—------

Hazel beneath our claws

While we wait for cerulean to cry

Unsettled ticks run through time

Enough for the hunt to go awry

—-----

There’s another thing he learns about himself. That he knows about since he woke up. He knows that he left someone behind. He doesn’t know who, but he knows they must have been close; he’s always looking down and finding himself surprised when the only shadow he sees is his own. 

He thinks that he must have sung to them a lot; he finds himself humming familiar melodies when he’s lost in thought. Lullabies lingering at the tip of his tongue, an instinct to turn and sing them to someone beside him. He can’t remember the lyrics, but his mouth does, it tries to get him to say them when he’s not thinking. He can’t. 

Danny’s found himself humming under his breath more times than he can count, trying to recall whatever it is his mind is trying to claw forward. 

(“That’s a pretty song, Danny.” Jazz tells him at breakfast one day, Danny screws his mouth shut. He hadn’t realized he was humming. “What is it?”) 

(Something mean and possessive rears its head on instinct, uncoiling like a snake from its ball. His shoulders hunch defensively, he bites his cheek to prevent himself from baring his teeth. He doesn’t know what song it is, but it’s not for her. “I don’t know.”)  

He misses his person. Dearly. He knows, the longer he is without them, that they must have been close. Otherwise, he wouldn’t feel like he’s missing a chunk from himself. He wouldn’t be turning to someone who's not there; reaching for a hand that’s missing, birdsong on his tongue, a story to tell. 

A dream haunts him one night. Warm and familiar, he’s holding onto someone smaller than him, they’re tucked into his side like a puzzle piece. He’s humming one of his songs that is always playing in the back of his mind, an unfinished tale of a harpy and a hare. Danny can’t remember their face, not all of it. He remembers green eyes, hair dark like his own, skin brown like his. 

He loves them more than anything else in the world, a fact he knows down to his soul. He loves them so much it fills his heart with sunlight. Danny squeezes them tight, nuzzling into their hair; he makes them laugh. Then, he proudly boasts something. That when he takes something of their father’s, that his person — a sibling? That feels right — will be… the word fades from Danny’s mind before he can make sense of it. 

His person hugs him tight, his… brother? And their mother — a woman whose face he can’t remember either, but who he loves like a limb nonetheless — appears, smiling. Her hands reach for them both, voice calling them, ‘her sons’. There’s ticking in the distance, it sounds like the fastening of chains.

Danny wakes up cold, tears streaming down his face. The details of the dream already fading from his mind like the cold pull of a corpse.   

—-------

Harpy hare

Where have you buried all your children?

Tell me so I say

—-------

When school starts that Fall, Danny joins the sixth grade class, and quickly learns more things about himself. One of those things being that he’s smarter than the rest of his grade, whatever education he had before, it was better than the one he’s getting now. 

Everyone knows he’s adopted right off the bat. He tells them when the teacher forces himself to introduce himself, but it’s not like they needed him to tell them for them to know; he never existed in their little world before now, and the Fentons are pale as they come. Danny is not.

He befriends Sam Manson and Tucker Foley; they ask him about the scars fading up and down his arms, they ask him about the scar carved diagonal across his face.

Danny, as politely as he can, tells them he doesn’t remember. He thought kindness would come second nature to him, his dream burned into his mind where he hugged his brother so sweetly. Apparently, his sweetness is only second nature to people he considers his own. 

(It becomes even more apparent when Dash Baxter tries to bully him later that day, and Danny ruffles like an eagle threatened. His mind whispers, hissy and agitated, sinking like a shadow at his shoulder, several different ways Danny could kill him for talking to him like that, and fifteen more ways he could cripple him.)

(Danny ignores those thoughts, up until Dash Baxter tries to grab him. Then he breaks his nose on the wood of his desk. It’s easy how quickly the rest of his grade sinks him down to the status of social pariah.)

(At least Sam and Tucker still talk to him after that. When Danny goes to the principal’s office later, he wisely doesn’t mention the worse things he could’ve done than break Dash Baxter’s nose.)  

—--------------

It clicks and it clatters in corners and borders

And they will never

Hear me here listen to croons and a calling

I'll tell them all the

Story, the sun, and the swallow, her sorrow

Singing me the tale of the Harpy and the Hare

—-------

More dreams come, of course they do. Each one halfway to forgotten whenever he wakes up, ticking faint in his ears. He is many different ages. He is young, shorter than a table. He is older, holding onto his little brother. He is singing in almost every single one. He is singing to his brother. 

Danny can barely remember the lyrics, he’s begun leaving a journal by his bedside so that it’s the first thing he can write down when he wakes up. He’s a storyteller, he learns. He feels like a historian, trying to piece together a culture long dead and forgotten. 

His most vivid dream-like memory is not a happy one, and for once he’s almost relieved he barely recalls it. He is somewhere that isn’t home, but his mother and brother are there. He is dressed in black, blades keen in his hands. 

They are atop a moving train. They are fleeing something. His brother is struggling to keep up, he is small, and young. It’s beautifully sunny, they are somewhere green and lovely. 

It is a fast dream. 

His brother stumbles on something, and Danny, fast as a whip, snatches him by the back of his shirt and hoists him up to his feet before he can fall. “Watch your feet, habibi.” He murmurs low, a hand on his back. It’s hard to hear, there is wind in their ears.

His brother, face obscured in all but his eyes, which are green as emeralds, nods. 

The dream blurs, but Danny falls behind. His foot catches on air — impossible, it should’ve been, at least. He never trips. — and he lands against the roof with a thud and a grunt. His mother and brother stop, and turn for him. 

The train hits a turn before Danny can get up, and he shouldn’t have, something pulls on him, he swears, but he slips. He can’t find the purchase to pull himself up, cold fear hits him as his nails scrape against the metal. 

His mother and brother’s horrified faces are the last thing he sees before he disappears off the side of the train. 

(The ticking is at its loudest when he wakes up, pounding against his inner skull. He only manages to write down ‘train fall’ in his journal, before he’s flipping over to press his head into his pillow to get the pain to stop.) 

—---  

She can't keep them all safe

They will die and be afraid

Mother, tell me so I say

(Mother, tell me so I say)

—-------

When Danny is fourteen he is still humming songs he can’t remember, his mind still in a broken puzzle. But his room is now decorated with stars and plants in every corner. He has a guitar he keeps in the corner of his room, and he plays the lullabies in his head on the strings over and over again. 

The ectoplasm in the fridge still unsettles him, still reminds him of a past he can’t recall. The knife beneath his mattress has returned to the kitchen — he doesn’t need it. He found a box in the attic last year, it had his name on it, and inside he found familiar, strange clothes, and more weapons than he thought was possible to carry on one person. 

(Even without knowing that the Fentons prefer guns to blades, Danny knows, instinctively, that they were his weapons. He was — was? Is — a dangerous person. He takes the box down to his room to sort through. The weapons all fit into his callused hands almost perfectly — the grooves worn to fit his palm. They’re just a little small.) 

(He tentatively takes a small blade with him to school one day, and feels much more comfortable with it sheathed beneath his shirt. He’s kept it on him ever since, like he’s reunited a lost limb to himself.)   

Danny doesn’t have a name for his person, his little brother, nor does he have a name for his beloved mother. He’s haunted by dreams every few weeks, many of them repeating. He’s ingrained the words he can remember to memory, and the ones he doesn’t, he writes down in his journal. His little brother; Danny calls him a bird, he can’t figure out what kind. His little bird of some kind; when Danny takes something from their father — what, he can’t remember what — then his little brother will be a little bird. 

(He doesn’t have a name for his brother, yet, but he’s calling his birdie in his head. It’s better than nothing.)

—------

Seeker, do you ever come to wonder

If what you're looking for is within where you hold

Will you leave a trail for them to follow a path

You'll soon forget

Home

—---------

When he’s fourteen, Danny dies. It does nothing to fix his fractured memories, much to his consternation. It just confirms something he already knows; that he was someone dangerous, and that he still is. 

When the shock of death has worn off, Danny inspects his ghost in the metal reflection of the closest table. It’s blurry, hard to see, but shock green eyes pierce back at him, green like the portal. Lazarus, Danny’s mind whispers, and he blinks rapidly.

‘Lazarus,’ he mouths to himself. It’s familiar. Sam shows him with her phone what he looks like, joking that he looks like an assassin. Danny doesn’t think she’s that too far off. 

He doesn’t tell her that. He tucks the thought away with the rest of his secrets, and fiddles with the hood gathering at his neck, attached to a cape with torn edges swinging down to his ankles. He pulls it over his shock white hair. It shadows over his face impossibly so, until all you can see are his green-green eyes peering out like a wolf hiding in the brush.

He ends up calling himself Phantom. 

(Maybe now he can start putting lyrics to his lullabies; his memories may not have returned, locked away with the sound of a clock, but the dead can talk. One of them may just have answers.) 

----------

Home is where we are

Home is where you are

Home is where I am

-----------------

Dedicated to @gascansposts for being the one who introduced me to the band Yaelokre, and thus being the whole reason I was inspired to write this in the first place >:] Those lyrics at the line breaks are all from their album Hayfields.

[avadaniels]

FELLOW TRAVELERS 1x06 “Beyond Measure”

[gunsatthaphan]

the incident // the aftermath

[rimeswithpurple]

Happy Birthday Baz!

Lemon Swiss Roll Cake with blueberry jam & lavender cream | Unicorn Inlay | Gumpaste Flowers

@rainbowrowell

[canisalbus]

Is this a gorgeous and beautifully drawn webcomic or gorgeous and beautifully drawn art only?

Art only I'm afraid ´v`'

I love comics as an artform and I wish I could create one about these dogs, but making comics is hard work. It's extremely time consuming and artistically challenging and I just don't think I have what it takes to branch out into that right now.