#i thought all of them will fit in here

[hailsatanacab]

A Persuasive Argument - dpxdc

"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."

"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.

"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.

"Precisely! What better time to talk to you all than when you're all actually here!"

"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.

"I'm afraid I've lured you here under false pretences, Tim."

"This is where I live."

"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"

"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"

"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."

"So? We don't need Jason, I've read the Sparknotes."

"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."

"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"

"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"

"No, no, please go back to that, because what the fu—"

"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"

"Oh, yeah, Mr. Wayne! Thanks!"

"Please, call me Bruce."

"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."

Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.

"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."

[locusfandomtime]

i hope you guys understand my vision

[5-pp-man]

no you don't get it. i literally love stories where they dive into people's hearts/minds (literally or figuratively) sm it's my favourite type of storytelling.

[fortyfive-forty]

WTA TOP 4 AS LYRICS FROM SONGS I HAVE SAVED [5 - 8] [9 - 12] [INSP]

IGA ŚWIĄTEK [POL] -> THUNDERSTRUCK [AC/DC] ARYNA SABALENKA [BLR] -> ALL MY FAITH [THE LAST DINOSAUR] COCO GAUFF [USA] -> NEW SHAPES [BAD NERVES] JESSICA PEGULA [USA] -> RISE TO ME [THE DECEMBERISTS]

[commsroom]

eiffel returning to earth and encountering people and places and things that he's known so closely for years - that some part of him might even instinctively feel he should recognize - but without the ability to consciously remember them vs. lovelace returning to earth and seeing all those familiar things and knowing them, and knowing how they've changed in her absence, but being unable to shake the part of her that keeps telling her she's seeing them for the first time. how both of these could be used as an exploration of trauma, and returning to a place (that hasn't changed at all; that's changed too much) that you no longer fit into; that rubs up against the changed shape of your life in raw and uncomfortable places.

[factorialsotherfandoms]

So um yesterday's tazercraft stream happened and I caught up mostly with other people's notes and now... have this I guess. I hesitate to call it a fic, but its definitely fictional prose imagining the night after Pac's return with the two of them in Chume Labs.

Usual disclaimer of I only speak English with any fluency and so characterisation is likely to be abysmal. I just... also love these two guys and I'm doing my best to make them happy. But it doesn't seem very realistic, so I'll make Mike cry instead.

Pac will not wake up screaming, he never does. Mike had when Pac was taken from him - when Walter Bob was taken too, and each and every time he remembers the cells they have been held in. Pac, though, Pac was the strong one, the one who could handle it, who could just manage whatever situation was thrown at them - who acted like everything was okay so he could look after Mike.

No more.

Now Mike is the one sat at Pac's bedside, holding his hand even as he sleeps. Pac seems frozen in time, perfectly still even with the tension running through him. His muscles are so tight that even his back shakes with the tension, clearly stuck in a nightmare despite how quiet he is.

And Mike... Mike does not know what to do.

He thought he was a protector, but he has failed to protect in every way that matters. It had always been the two of them - Mike would shield Pac as they fought the world, and Pac would be there to patch up his wounds. But then they were taken, and then their friend was taken, and then Pac was taken leaving Mike alone and now-

If there was something to destroy it would be easier, Mike thinks.

Destroying the Federation will not be easy, and whatever he has seen in his time, alone in their grasp, Pac does not even think it possible any more; something in Pac has been broken, or perhaps stolen, and Mike can only hope that it is something that, despite his clumsy attempts to soothe, will heal.

Impossible is not a word that should be found in Pac's vocabulary, and yet...

There it is.

Mike has never been good at picking up the pieces, not when building, and certainly not of a person. But, but if Pac has broken, has slipped beneath the water, then Mike will not give in until either he is dead, or until he has Pac in his arms, fully this time around. If Pac has learnt the word impossible then Mike will forget it, and bludgeon head first into a world trying to destroy them, tearing it piece by piece until they are all safe once again.

Pac is his friend, and Mike is Pac's friend, and they mean everything to one another.

So, when he catches Pac's eyes, half-lidded, barely open, Mike will reach slowly out, and brush the hair from his eyes. He will tell him he is safe, that Mike will protect him, that nothing will be allowed to touch him again. Perhaps Mike will fail, but he will get back up and scream and try again, and do everything Pac can't until his wounds have healed and they move together again.

He will be scared when Pac does not respond beyond a slow blink, hesitate only a little before squeezing his hands. He will help Pac sit up, fold his hands around a water glass, and keep those hands steady as his friend drinks.

He will ask Pac if he is okay, and receive only a slight bowing of his head in return.

Fear will grip him tighter - it has not left yet, it had never gone - but he will pull Pac against his chest, hold him close, clutch him closer as he tries to outsqueeze the fear.

Pac will turn his face into Mike's chest, and wrap his fingers in his shirt, and say nothing as Mike makes promises of them being together, of them being home, of having trapped the area around the beds to hell and high heaven and that, even if something can make it past, it will not be quiet enough to escape Mike's notice.

Mike will hold him and comfort him and, when the words run out with Pac still silent but now trembling against him, he will let himself sob, and he will cry for the both of them.

[wormonastringtime]

perfectly average glass of water

[skitskatdacat63]

“Amore et Timore” - King Fernando I “El Animoso”

[merry-finches]

YAAAY TECH ISSUES RESOLVED!

HAPPY "SECRET" GIFT DAY TO....Mo!! <3<3<3 @lotrmusical

Where would we all be without you? :>

I'm so happy to be a part of this little fandom, everyone is so welcoming and joyful and skilled and friendly, gahhhh I'm never over it. And creative, oh my goodness, when I have half a moment to indulge in everyone's amazing creations I've caught glimpses of 👀

So please enjoy mine, I hope you love it :] 💚

I had entirely too much fun pulling from all sorts of places for the construction of this gift 👀 I... wonder... if they will all be obvious! Please do tell me what you spot :] (the invitation is open to all to yell with me always)

I think I managed to hit most of your likes list in one way or another ^.^

And a happy birthday to jirt too!

Heydey 🦵🦵🙌🧍(that looks deranged out of context someone take emojis away from me or get us better ones :D )

🌻🍃🌼🦌🐞🍀🐦🌸🐝☘🐞🐎🌼🍃🌻

[wundrousarts]

An underrated aspect of drawing 919 I forgot to mention in my last post: have you ever wondered why I have a tendency sometimes to draw the Wunsoc sweaters as somewhat large and baggy? I think it’s fun to imagine that they might grow into them, just as they’ll “grow into” their role in the Society :)

[samarecharm]

Bouncing off my bi ryuji awakening post, im gonna add these tags from it: (separated to make it easier to read)

[#anyway. akira is the guy ever. and ryuji is exploding#‘i have died. badly’#i like thinking of akira like this; hes ryujis first exposure to nb ppl and gnc adjacent stuff#even if akira is p masc by most standards hes still got a bit of. aloofness. about his gender stuffs#ryuji is just really into the way akira carries himself#and it takes him a while to go oh. oh i think its cause i like this dude#um.#😳.

#also i wanted to clarify#but ryujis mom just doesnt know Who akira is in that picture#and in my head hes like. looking down at mona and petting him (while sitting)#(AND hes with ann and theyre both kind of a distance away from the camera)#so at a quick glance; hes just Some Girl#and even though shes wrong; it kicks off the mental chaos olympics in ryujis head#‘what hes not a girl’ to ‘where would she even get that from’ to ‘well akira said himself he didnt rlly care what ppl thought about it’#to ‘well. where DID she get that from?’ to lookin at what his homie does a little closer to ‘aw fuck. man.’#but i love that for him

#ALSO. RYU/GORO IN TAGS…..#but ryuji going oh my GOD oh my godddd 😨😓😓😓 when something clicks in his head about goro#his voice is so practiced and naturally softspoken and his public facing persona is very demure#and once he gets past the initial anger over goro being a pompous prick who shittalks about the thieves. hes like. god fucking dammit.#There Is A Pattern and A Type He Has and Its Killing Him To Realize it.#hes literally sitting in his room w his head in his hands]

Ryuji definitely finds Conventionally Attractive Girls pretty, but he realizes around postgame that he genuinely formed crushes on THREE people; Akira, Makoto, and Goro. And all three of them are people who carry themselves as a bit Soft and Delicate (akira and makoto w their personality and mannerisms, goro w his appearance) while also being deceptively strong. Yusuke WOULD fit into this but hes only strong in the metaverse. Also if u tried to argue that he still finds yusuke pretty, Ryuji would just say ‘yeah duh? Of course???’ and would not elaborate further.

I just think. Its cute 👉🏾👈🏾 Ryuji loves someone whos pretty and capable of knocking him flat on his ass lmao He LOVES a challenge and he likes that they can all challenge him in different ways.

Akira is way stronger than he looks; hes very toned and he used to be quite active before being shipped off to tokyo. And after fighting in the metaverse, hes gotten way better at using an enemies mass and momentum against them. Yeah he can properly knock someone down, but its way easier to let Ryuji charge him and use that momentum to sweep and pin. Which Ryuji remembers vividly for Weeks. Akira is not allowed to spar w him and Makoto for awhile after that.

Makoto is just strong as hell. But shes very defensive, and extremely patient. ‘Ill wait and see before I decide What to do’. Shes got good reaction timing and its hard to catch her offguard. Its very difficult to disorient her so oftentimes, his spars w her are more about endurance. And if he ASKS her to do so, she’ll actually fight him back. He never wins 😭 but she is very patient w him and she doesnt treat him like an idiot. She likes to give him tips and redirect his strengths to make up for his weaknesses and it makes him a bit warm in this chest

Spars w Goro are just fun. Theyre fun! Goro is way more aggressive and reckless than Makoto and Akira. He is looking for openings near constantly and Ryuji has to either keep up or tank hits. Its very. Engaging. For him. Sometimes he loses and Goro is giving him a look so smug, Ryuji wishes he could kick him in his fucking teeth (something he clearly couldnt do bc hes already been knocked flat on his ass). And sometimes he wins, and hes so shocked and HAPPY about it; he doesnt miss the way Goro looks away from him pouting like a brat (‘no fucking way are u POUTING man, what a sore loser 😭’). Goro and his uptight personality is thrown out the window completely and its so fun and refreshing to see. Hes tall and imposing w broad shoulders and toned arms and if Ryuji is staring, he finds himself immediately distracted when Goros cheerful, softspoken voice asks if hes willing to go another round.

I love it 👉🏾👈🏾 Ryujis got a complicated relationship w violence but it helps to have people he trusts engage with it in a way that doesnt make him feel like some brute. Theyre all kind of itching to beat the shit out of things for multiple reasons, but instead of taking that out on each other, they spend time training one another so that they can beat the shit out of OTHER things better. Its an efficient system 😊

[dinitride-art]

Lighting and Mike and Will - Full Analysis (Pt. 14)

This one is going to be long. I’ve touched on this scene [here] which was also the first time I started to notice the lighting. But uh, after going through all of the season prior to this, things have changed. 

So, get ready for the thing that makes me believe that there isn’t any other possible reason for this scene except the fact that Mike is very much in love with Will. (Also dialogue discussion is here. We’re going all out for the van scene. All in.)

S4:E8 - No, You’re My Heart. (#1) 

First things first, we’ve got an establishing shot. Not much to this, but there are a few blue cars on the road and the van is yellow. It also gives us the lighting on the outside of the van which can be compared and contrasted to the inside of it. It’s a sunny day so it makes sense for it to shine in through the windows. 

Argyle is a good neutral touchpoint for lighting. His face isn’t too bright or obscured in shadow, he’s being lit normally. However, I would like to highlight what he says here. I watched this scene a few times- usually when grabbing pictures I don’t have the sound on- so when I watched it through a second time I wanted to pay attention to the dialogue and sound. 

“Watch out Dominos, the dominos are falling,” is the line Argyle says in this shot. Mike is in the background when he says this. During this scene Argyle is shot at a side Angle, so it’s not just that Mike happens to be there. Mike is in this shot because he’s about to tip some shit over.

This line is important to what is about to happen next; the painting scene, the van scene, the whole thing really. 

And it really does knock over some dominos. 

Adding this here as another neutral lighting example. Side view of Jonathan with Argyle blurred out. His lighting is a little more focused than Argyle’s was above, but he’s also a relatively important piece of this scene later on. So, it makes sense for the emphasis to be more on Jonathan rather than Argyle.

This shot right here has a lot going on. In terms of lighting, we’re seeing Mike and Will normally, there isn’t any out of place angelic light just yet. But there is so much happening symbolically. (We also haven’t entered Mike’s view yet.)

First, let’s talk colours. We have red, blue and yellow present in this shot. The red and blue is on the blanket in the middle of Mike and Will and the yellow is to Mike’s left. 

Mike’s shirt pocket in this scene is notably pointing away from Will. It is, however, pointing to the yellow fabric to Mike’s left and to the shadow of ‘boy’ on his side of the van. That shadow comes from the back window, where the logo is. 

The logo is also important. First of all, the words displayed from Mike’s direction and towards Will. The other thing is that the word ‘boy’ is one of the only ones that we can fully read during this scene. And it’s in the middle of Mike and Will, pointing towards Will. The other words on the back window are blocked out by Will and Mike’s heads for most of this scene.

This here is how Mike lit during this scene. We can clearly see his face, but it’s not blinding us like Will’s will be. 

I’d also like to note how relaxed Mike is here. His body language and expression don’t indicate anything but answering Will’s question. He just asked about how far they are from Vega’s, there aren’t any alarm bells there. He’s got no reason to panic.

Until Will says, “Well once we save El,” and talks rather light heartedly about going to Vegas and messing with the machines to get a bunch of money. Which is pretty normal conversation.

Lighting wise, we also see the most distinct difference we have so far between Will and everyone else. This shot is an over-the-shoulder shot from Mike, so we’re looking at Will here how we have been for a whole lot of this season, through Mike’s eyes. 

And here is where we can see how the lighting in this scene actually starts to blow out Will’s face with the sheer amount and intensity of it. 

As soon as Will mentions El, Mike tenses up. We can also see just how different this shot is from Will’s. The angle of this shot also isn’t really an over the shoulder shot, we’re just looking from Will’s side view. Whereas Mike’s over-the- shoulder shots are much more over-the-shoulder/behind his head/don’t have his face in view.

Nearly the same thing again here, but I wanted to show the progression of the shadow behind Mike. ‘Boy’ is in frame again, and at this angle, where Mike’s shirt pocket is pointing. That shadow is manipulated throughout the scene to fall where it needs to in order to emphasize it’s point. It’s point being mainly that Mike’s shirt pocket is pointed at it. 

Then we flip back over to Will and we’re given the most blinding shot- although it does flicker so we do see some of his features at times- of glowy/angelic/’in Love With My Best Friend’ lighting we have seen so far. This one tops the one that just broke the record, only a few seconds after it happened. 

We cannot see his face here. 

(But also this shows Mike’s Over-the-shoulder shots pretty well. We can’t see Mike’s face here either, just the back of his head. It’s pretty different than Will’s side shot where we could see him while he was talking to Mike.) 

And now this. The heart. 

The little bit of light in the corner of Will’s eye is partially the reflection of the van window. It’s terrible quality here, but it’s there. The weirdness in light and reflection changes as we go through the scene. If anything, as the scene progresses, the heart just becomes more and more visible. 

After Will brings up El and talks about playing D&D and Nintendo for the rest of their lives, Mike starts acting odd. Will takes this as concern for El and reassures him that she’ll be fine. But Mike’s response is odd as well. He doesn’t seem overly concerned about El, he knows that she’ll be okay. There’s something else that Will isn’t seeing. 

In these frames above we also see the difference yet again between Mike and Will’s lighting. And again how there is a side angle instead of an Over-The-Shoulder shot. We aren’t looking at Mike from Will’s perspective at the moment. 

After Will brings up El, Mike asks, “But what if after all of this is over, she doesn’t need me anymore?” He stutters through this sentence like he’s nervous. His tone during this statement isn’t sad or heartbroken, it’s contemplative. He’s asking Will, ‘what would happen if El and I aren’t together?’

And then he looks at Will like this. ‘Boy’ in the background and his shirt pocket pointing to yellow, he looks at Will waiting for his reaction. He’s not looking for comfort here, he’s looking for an answer. 

And Will... it’s the same problem really, for the both of them. They’re both trying to say something to the other and neither can see it. 

Will immediately comforts him, “Of course she’ll need you. She’ll always need you, Mike.” Mike’s face kind of scrunches up here. Will is glowing the like the sun and Mike doesn’t look happy with his answer. He almost looks either disappointed or frustrated. Or maybe both. 

A little aside to this, in this shot here Will’s light in the corner of his eyes does this. 

And this. Now, the reflection from the van in Will’s eye is what this is being based on. That reflection is there in almost every part of this scene when Mike is looking at Will. But half of this isn’t always there. Later into the scene, there are quite a few points where it flickers back and forth between the heart shape and the reflection. 

I am going to look at the heart eyes because they are there and they are right in front of me. Mike is seeing literal hearts in Will’s eyes. I can’t not analyze the hell out of it.

Anyways, back to Mike. “I keep telling myself that but I don’t believe it. I mean-”

 Mike closes his eyes before he starts speaking. I’m pointing this out now to compare to Will later, but this is showing that Mike’s lying. Because Will does the exact same thing when he starts lying about the painting. 

‘Boy’ is also right next to Mike. Continually beside his pocket. 

Also here to do with lighting, is the window. It’s pretty subtle but it’s either green or Blue and yellow. I can’t exactly tell if the foliage outside is yellow or green. Either way, though, it’s some form of blue and yellow backing the scene. It’s just another thing to add to the every growing list of important aspects of the van scene. 

“-she was special- she was born special. Maybe I was one of the first people to realize that. But the truth is-” 

Mike- again- closes his eyes as he says this, indicating dishonesty that is established more solidly when we (eventually) get to Will and the painting And as we can see Will again we can see that his lighting is still carrying through the scene. Although not as bright as before, he’s still in his glowy/angelic/Mike view lighting. And we’ve got the window which is blue and yellow and/or green behind him. 

There are a lot of different pieces in this scene that are working together to tell us what’s going on here. And there is so much happening here. 

‘Boy’ is right behind Will. Like the disco ball drawing our attention to Will, this is used as a symbol within the setting of the scene, behind Will’s head, just being used in a different (but similar) way. The way that the ‘B’ is still visible and leads us to Will is amazing. 

What Mike is trying to say here has far less to do with El than he’s letting on. We’ve got expressions that point towards dishonesty and the entire rest of the scene contradicting his words, symbolism wise. Even prior events in the series contradict his words here. In relation to El, this doesn’t make sense, but in relation to Mike, it does. Mike’s saying something about himself, not necessarily his relationship with El.

He’s trying really hard to tell Will something and Will isn’t picking up on it. 

“when I stumbled on her in the woods, she just needed someone. It’s not fate, it’s not destiny, it’s just simple dumb luck-”

Here we can see ‘boy’ beside Mike’s head, pointing to Will and we can see the shadow of it beside Mike’s head as well, the direction his shirt pocket is pointing to. 

While Mike is trying to defend his position on his relationship to Will, the imagery around him is saying what he can’t. 

Mike doesn’t want El to need him. But if she does, he’ll be there for her. 

Mike jumped off a cliff for Dustin (although there were other underlying factors), he was with Will the entire time he was possessed, he was the one who taunted Billy and lead him into the sauna, he was the first one to trust El, he pushed Troy, he tried to get in a fight with Hopper at the end of season two over El, he and Max carried El in the fight at the end of season three, he told Dustin in season one that multiple people could be some ones best friend (because all his friends mean that much to him), he’s stubborn and can’t apologize ever (to anyone but Will) on his own but he cares about his friends. And he’s protective of them to a fault, like in season three when Max called him out for trying to control El, because he was scared even though she can make her own choices.

Mike was the one who ran in front of Jonathan and Will in the shootout. He would’ve been the first to be hit.

Mike cares a lot about his friends and he’s continually been reckless to protect them, to the point of being an asshole and a bad friend. 

Why would it be any different with El? If she needs him, he’s going to whatever it takes to protect his friends, especially at his own expense. 

“-and one day she’s going to realize that I’m just some random nerd that got lucky that Superman landed on his doorstep.”

This is where he starts to look at Will. It’s also where he says ‘superman’ which is why I think he backtracks so quickly. If he keeps talking he’s going to end up somewhere he can’t come back from.

“-at least Lois Lane is an ace reporter for the Daily Planet. But-” 

He starts going on with the metaphor, but stops when I think he realizes that either Will isn’t getting it or he finally realizes where this is going and he gets scared. Either way he cuts himself off.

“[sigh/scoff] sorry.” 

“No-.” 

We see here that Mike does indeed backtrack. He tries to drop the subject entirely. And we still have his pocket pointing at ‘boy’ and yellow, and ‘boy’ pointing at Will and we can see exactly what Mike is saying. He knows who he is. He knows that him and El won’t work, and now he’s thinking that maybe she doesn’t want their relationship either. 

And he’s trying to explain that to his best friend who he trusts and who he loves and the Van itself is saying ‘Mike likes boys’ but Will isn’t picking up on it. And Mike isn’t going to spell it out for him because that’s far too much of a risk.

“No- It’s so stupid given everything that’s going on.” 

‘Stupid’. This line here reminds me of something that seems to be in line with what’s here so far, ‘it’s not my fault you don’t like girls.’ When Will destroys castle Byers in season there he calls himself stupid multiple times and this specific word here could be implying the same feeling/situation. 

But Mike’s going to try and redirect because, ‘El’s been kidnapped by the people she ran from in the first place and I’m worrying about our relationship? About whether or not she’ll be okay without me? She’s in danger and I’m worried about being gay?’

(Or at least this is kind of what I’m seeing going on inside of his head. A lot of my dialogue analysis feels weirdly speculative, so I’m just going to mention that I may be reaching right here, just a bit.

But then again, there’s symbolism and light pointing in that vague direction. So, maybe I’m not. I don’t know yet. I think I’m right, though. Because there wouldn’t be this much here if that’s not at least in the right direction of what they’re trying to say.)

“It’s just I-”

“I don’t know-”

‘Boy’ has returned to the shadow beside Mike’s head and in this shot, we have the window one visible and pointing again, to Will. 

“I just- uh”

I think in this moment Mike knows exactly who he is. He’s trying to tell Will, but he can’t. The setting and the scene and the symbolism are telling us that Mike isn’t at a lost for words- they’re literally surrounding him- he’s just scared. 

But Will is the one of the only people he’s ever been honest with- that he’s vulnerable around. So, he’s trying to tell him. 

Will is wreathed in light, there are literal hearts in his eyes. Mike knows that he loves him.

But he’s not giving Will enough to go off of.

And Will doesn’t understand what he’s trying to say.

And then neither of them understand what the other is trying to say.

So then Will goes and breaks both their hearts in one fell swoop.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 (To be edited)

[foreverppl]

Moodboard for my MC Evander for @uroboros-if

I so enjoyed playing this demo last night and have been having many Thoughts about it.

[josephslittledeputy]

Celeste & Lucian during Cel's baby vamp era || Celeste & Wes sometime during the late '70s/early '80s || Sparrow & Endymion (She's not wearing her eyepatch that seals him in so he's tormenting her <333 He's actually quite fond of her ok) Lacy & her beloved husband, Owen, years ago || Lacy & her guard dog Zeke in the present (Preventing him from tearing someone up bc they looked at her wrong) || My beloved worst couple Sid & Sel <333

Kira Gallagher (TWD verses) Top Left: Teenage era, being a hellion || Top Right: Pre Zombie Apocalypse Bottom Left: Early Apocalypse, safe in shelter || Bottom Right: Present, post doing something that's necessary in the new world

Tagged by the lovely @carlosoliveiraa to do these cute picrews! 1 & 2

Tagging @socially-awkward-skeleton @direwombat @marivenah @alexxmason @henbased @simplegenius042 @inafieldofdaisies @skoll-sun-eater @cassietrn @clicheantagonist and anyone else who wants to participate! Sorry if you already have and I haven't seen it yet! It's been a while since I've been on here

[jargyles]

jonathan/eddie makes me so sick (POSITIVE!) because in the magical fantastical self indulgent world i have created in my brain in which they were in each others periphery since childhood and only really got close in the background while things were getting tense in jonathan's life is something that can be SO personal. eddie has to move in with wayne after middle school? jonathan finds his way to his new trailer whenever he can, it's muscle memory by the time he comes back to hawkins. lonnie fucks off from the byers? jonathan and eddie spend the night near castle byers writing a list of all the bands they're gonna see when they gain more independence. eddie loiters around the photography club (never participates or engages, just lurks) when jonathan moves to california. that kinda stuff