#even if you don’t own them

[reiashiftsrealities]

Guys I feel like we as a community need to normalize jealousy. Like I don’t mean going out of your way to be mean to someone or whatever but I mean normalizing FEELING it. It’s honestly kind of rough to see somebody else shifting for your s/o 😭. Not saying it isn’t okay, because it totally is, but that doesn’t mean it doesn’t feel weird or uncomfortable for someone else 🤷🏻‍♀️

[theoldkyokodied]

The Allegiance of the Ascended Vampire and the New God of Magic

[ao3-shenanigans]

Shout out to all the beginning authors, don’t be afraid to write badly and to write for yourself

we will love you regardless

[puppetmaster13u]

Prompt 204

Danny is on a bit of a roadtrip. An accidental roadtrip and might be getting chased by some sort of assassins or whatever they were. Look, it’s not his fault, he was injured and out of it! How was he supposed to know that the Pits or whatever the people were yelling about were important. Or sapient. 

Actually, he should like… “How do you even know how to drive if you’re like, thousands of years old??” That was not what he was going to ask his current roadtrip buddy, but maybe he had a concussion. 

Ectoplasm-green eyes turned towards him from the road, framed by a mixture of black and white hair that shifted like his own. “You most likely don’t want to know the answer to that, actually.” Okay, but what if he did, huh? 

“Okay, but where are we going, because I don’t think this is my dimension…”  

They shrugged, their clothing shifting with the motion. Ha, ninja clothing for a sapient pool of ecto, or whatever it had been. “I am, not exactly familiar to things that were not known to those thrown into my blood, so we’re, I believe the saying is going in blind?”

“Oh. Okay. Y’know you’re kind of nice for an ecto-death pit thing.”

“... I am going to pretend I didn’t hear that, child.”  

“Okay. I’m going to go to sleep because my head hurts.” 

[thepenguisalive7]

The B In blue stands for ‘Berry Clingy’

Link 1, 2

[puppyeared]

personal character design headcanons + brainrot

Note: the re-bound!au does NOT belong to me, it belongs to @chipper-smol I’m just not normal about it lol

[grondds-and-roses]

My favourite thing about AOT is that when Eren first met Armin and Mikasa, he scared the hell out of them

Like imagine this: You just had the worst day of your life. A bunch of kids beat you up/ you watched your parents get killed then you got kidnapped and out of nowhere a creepy little kid in a red scarf shows up and he is like “yo, wanna tatakae and be my bestie forever :)”

[turtleblogatlast]

“Haven’t You Noticed (I’m a Star)” from Steven Universe works so ridiculously well for Leo

[edwinisms]

it’s actually so wild to me that this fairly quirky YA type show gave both of its main characters deaths that can, in one way or another, solidly be considered hate crimes. they were both flat out murdered as a result of being A) gay and effeminate or B) brown (south asian, specifically) and you could argue whether or not those kids thought of it that way in the moment or whatever but the bottom line is that they would not have been in the situations that killed them if they weren’t of their respective minorities. like legitimately that is a ballsy choice for this kind of netflix show, let alone for the two Main Characters, and i respect it big time

[see-arcane]

Van Helsing: “Mina you should not be involved any further for safety’s sake—“

Jonathan, thinking: Yes, she shouldn’t be put in Dracula’s reach, good good good—

Van Helsing: “—helpful as you’ve been every step of the way, you do still have a chronic case of Being a Girl and so cannot be trusted to keep up with us men and our man-work.”

Jonathan, personal heroes including Mina, Scheherazade, and Mina again, grinding his teeth into dust: …That Is. :) A Way to Frame It. :)

[kitamars]

hello. um. sorry for disappearing for like two months. imagine me getting hit with a truck called “The Worst Creative Block In Your Life” and getting thrown headfirst into the gintama rabbit hole. it’s quite cozy down here. i think i need help.

anyways, have a bunch of accumulated doodles plus this terrifying kagura as apology tehe :3

[midnightemy35]

mermaid aven au from: @havanillas

i like to think that ratio had like a moment where he was mentally freaking out over the fact he literally brought back a dying half-human-half-fish that probably belonged to someone else and the fact that he now has to accommodate for that same merman.

[radlymona]

TRAs having no empathy yet again

Teenagers who are pushed towards transitioning aren’t “pushovers” they’re mentally and emotionally vulnerable young people who shouldn’t be allowed to make life-changing medical decisions. Acknowledging this fact isn’t stopping adults from transitioning. It just aims to stops other vulnerable teenagers from doing the same.

[my-coven-is-claudia]

a moment that’s really stuck with me from the trial is during lestat’s apology when claudia reminds louis of his possible insincerity and the futility of his apology. what’s most significant is that in the face of danger claudia is the one out of the two who takes the lead. claudia always as louis’s protector. nursing him after being brutally beaten by lestat. conceiving the plan to murder their maker. leading them through war-torn europe. claudia’s fearlessness and determination is what urges louis to continue moving forward. to leave america behind and all the pain it signifies and find others like them. to start a new life and finally (try to) escape lestat’s grasp. claudia was louis’s spark in the dark but that spark was his life-force. his willingness to continue living was tied to her existence. his anchor amidst the chaos. if claudia was not by his side then what was the point in hiding from the sun anymore. it takes a failing relationship, two interviews and suppressing his grief for over half a century for louis to be able to speak of how much he loved and adored claudia. and learning to live without her will surely take more than a thousand sunsets.

[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[laurrelise]

peacefully scrolling through ao3 for a five + sibling bonding fluff fic because i was bummed about season 4 again and i suddenly come across…

………. mpreg five