#in a more sentimental way

[bookalicent]

yeah so this was insane

[katabay]

desmond & friends modern day assassin sequences…..I miss you……..

[kanejbr3kker]

The fact that Kaz bought out Pekka’s casino and then named it after the crows I-

[squidpus]

Couple of doodles - I was inspired by old samurai photos....and then I wanted to draw something dumb.

[scrawnytreedemon]

some picked-mins i doodled, alone in a server vc :}

[bacchuschucklefuck]

Riz has counted four casseroles this week alone. Five, if one goes by the method of cooking, but Yelen's scary when she's crossed, and calling her burek by its proper name is important to her, so Riz does her the courtesy and doesn't include it in his mental tally.

He holds the tupperware over his head to keep it out if the way as he takes careful steps over the piles of notes in his path. The dockman case just closed, relevant documentations handed over to relevant personnels, evidences dealt with as needed; all he has lying around now is just record of the process and traces of himself thinking through it. Unsurprisingly they still haven't invented a surface more convenient for people under five feet who like to pace to put pieces of paper on than the ground.

Actual records go into the case folder with the other documents. Anything else with at least one side still blank is going to the school kids in the block - they chew through an astounding amount of paper just learning arithmetic. The rest is for the recycling basket.

Later. It's his mandated lunch break right now.

Riz sits down in front of the corner file cabinet. In an office often overrun with papers and strings and sometimes even thumbtacks, he's never really managed to clutter up this exact square of surface like every other ones. Ever since the bottom drawer rattled for no discernible reason a day long past, his eyes have always just kinda decided to slide across the space without acknowledging it.

It's years out, now. Riz doesn't know why he thought it such a big deal anymore, back then. He wasn't scared, he doesn't think. Not anymore. Maybe just uncomfortable with the idea that certain things persist despite all efforts to change.

He opens the tupperware. Dame Carabelle's experiment greets him with enough spice in the aroma alone to knock out a small mammal. When he chopped the vegetables for this casserole he couldn't really imagine the eventual heft of it, evident even through just these few ladles' worth, maybe weighing heavier for being still warm. His folk eat more through the smell and the textures and the aftertastes than the taste itself. His folk's meal is really the cooking rather than the eating. The eating is the meal's end.

"Hey," he tells the file cabinet's bottom drawer. "Um."

It's the anniversary. Riz doesn't know the exact date of his dad's death; nobody currently alive does. He and Mom both use the date of the funeral, though as he moved out to Bastion and then got more directly involved with Interplanar he hasn't really been going to Dad's grave as much. Doesn't seem like very efficient use of his time, catching a train or borrowing a car or spending a whole spell slot on going somewhere he knows Dad isn't at. They're sorta coworkers now. They talk on and off every other week between missions. When he goes now, it's just to clean up the place, keeping the landmark tidy and respectable.

Without that work to mark the date he doesn't really know what it serves anymore. But he still remembers it. Still takes note, absently or not, when it comes around.

There's not really a good way to tell the drawer that. Riz looks for another way to start the... conversation, hopefully. The question at play, he'd guess, is why he's doing this. He's been pretty content ignoring all the rattlings and the knocks from inside and the times it sits slightly ajar without him ever opening it himself; hell, he still uses the three drawers on top of it. Space is fucking precious in Bastion.

Precious enough to finally fix this damn drawer so he gets his turn to use it? Riz asks himself. Is that what we're getting to? Then he dismisses the thought - he didn't manage to fix it the times he actually tried, let alone-- now. When he doesn't really care that much to.

That's probably a good place to start. "'s fine if you keep being in there, turns out," Riz says.

The lunch hours are quiet in the block, sleepy and bright with the brief window of sunlight that manages to break through roof overhangs and extended balconies and laundry lines and climbing vines. Riz's work isn't loud here (the loud parts happen away from his office, if everything goes right), but the fragment of early summer heat reflected in the steady warmth his meal still carries compels him to lower his voice even more. It makes the words feel intimate, in a way he's never been familiar with - if he says something he just says it. He doesn't whisper. If he gives his friends something, he gives it open-palm. He's found out, along the way, that people usually don't think of rituals and courtesies the way he does.

Small voice for a diminished monster. "You know why I think so?" Riz asks. "Because almost two decades ago you kidnapped me and almost killed me, and now you rattle a drawer in my office."

It doesn't sound as much like a taunt as Riz wanted it to; the drawer has made a lot of noises again this morning when he checked the calendar, and he was definitely annoyed at it. Now, though, facing it like this after cooking the whole morning with more grandparents and peers from the block than he can count on both hands to cater for a tenant union meeting, he thinks the annoyance has morphed. Changed shape.

It has the shades of something like pity. Riz is not prone to pity, and especially not at these kinda matters. It's slightly maddening that he coheres perfectly outside of this one spot. That he commands his spaces, except for a drawer.

He puts the tupperware onto the floor between himself and the cabinet. "I know we're aware it's the anniversary," he says at the drawer. "You do this every year. You make a ruckus every time I decide to go do my job instead of mooching off my friends' aircon, and every time I get an invitation to some stupid social thing I want to turn down, and every time one of the old people tries to introduce me to a child or a nibling, because being a bachelor over thirty is weird," he pinches the bridge of his nose. "I have three fucking jobs. I love doing my fucking jobs. I'm forcing funds into infrastructures. You're never leaving, are you."

The drawer vibrates lightly. It's a very, very mild acknowledgement, considering the history of reactions Riz has gotten from this thing. Riz thinks it's emanating joyous agreement, or satisfaction.

It only sharpens the pity. Riz doesn't like that, but it's how it is. That's, ultimately, the lesson he's been taught over and over and over again, just by existing as himself, turned every which way by space after space that don't see him eye-to-eye: it's not like he'd quit living over any of it. It's not like any of it can sand off these fundamental pieces of him.

He's outgrown a lot of things, he's found out. Again, and again, and again. A childhood home, a yearly trip, a monster.

"'s probably scary for you, huh?" He asks. "Because I left."

He thinks he hears joints creak that sound like you did. Probably the way a scorned lover would say it, in a movie or a yellowback. He has no more connection to the idea than he did as a kid. Less, because it doesn't even scare him.

"That's what it is, right? That it's the anniversary, and I'll never be like Dad." He raises a knee from the floor, pulls it back closer to him. Slings an arm over it. "You love to remind me. The thing is, Dad also left. He loved Mom and he loved me, and none of us wanted it to happen, but it still did. Because love does fuckall to make anyone stay on its own."

He's long past being bitter about it. It's just the facts. Once upon a time he looked into the future and the specter of his friends' happily-ever-after casted lightless, fathomless shadow over him. Love, marriage, that kind of devotion, to a fifteen-year-old with more solved cases than friends seemed so eternal. Final.

But you can only watch your friends build up apps' worth of jilted lovers for so long before getting over it.

"You know what I learned?" Riz tells the drawer. "Love doesn't make anyone stay. Project management does."

He stands up, and picks up the tupperware of Dame Carabelle's casserole, that he helped make, that he helped share with a block's worth of neighbors and members of a community he's at home with, and goes sit at his desk to eat. "Last chance to get any," he drops an offer over his shoulder as he walks away.

He doesn't eat all of his share in one go. What he's spared he leaves on the desk when going outside for a smoke break. Baron looks the exact same as when he saw them last, when he catches a glimpse; they haven't grown at all. They aren't there when he comes back inside, but the leftover has gone days-old cold, like someone's sucked the future out of it.

[howtodrawyourdragon]

I'm gonna say it; Hiccup did nothing wrong. We're treating him as the biggest problem of THW when literally his worst crime in is somehow losing his freckles and that's not even something he has control over. Oh and that kind of incredibly stupid plan of literally moving an entire people by going "let's just fly straight until we hit something :) even though I, Hiccup Haddock, somehow don't believe the world is round."

The entire rest of the movie is everyone else around him being horrible and out of character.

Berk is a mess in the beginning of the movie, yes. But it was also just a year ago that his father was horribly murdered in front of him because Draco Bloodyfist-Or-Whatever decided to sent his mind controled best friend after him. Everybody expects Hiccup to be put together and solve all problems immediately and remain a Dragon Rider when he should be buying a therapist a mansion and a yacht with all those billed sessions.

Then there is being told more than once that he's putting Astrid second when he literally isn't. And told he should meet her standard.s

There is all that stuff about how he's been a horrible pet owner to Toothless when he had legitimate and real fears about Toothless not making it out in wild and about the Light Fury turning on him and about him not coming back. (Like... he's a disabled dragon, for Gods' sake??? Toothless will literally NOT make it without human intervention)

He's called out for not embracing change when his name was literally synonymous with change before THW and every bit of change he proposes in the movie is met with backlash unless Astrid, their not-chief, says it's okay.

His mother, who abandoned him for 20 and came home with him after the traumatic loss of his father spends most of the movie not being the mother she promised him to be in the second movie and even advocated for the Riders to be less dependent on dragons when she was with dragons for the entirety of those 20 years.

And then there is all the bullying. Making fun of his voice, telling him- a disabled person- to LOSE THE LIMP, telling him he's not worthy of Astrid the warrior goddess (completely forgetting how Hiccup is both parts warrior and diplomat in at least the previous two movies, let alone the movies and the shows) and these three things are all said by Tuffnut! "Forgets he has a sister in THW" Tuffnut!

And let's not forget Snotlout's "who died and made you chief?!" when Snotlout was literally crying at Stoick's funeral. And then proceeds to hit on the dead man's wife and his best friend's mother while also putting said best friend down!

Like... none of the things said to him in the first movie were as bad as some of the things said in THW.

The entire movie is also basically Hiccup being pulled from one direction to the other.

It's "You're a bad chief because you're not changing anything" yet it's also "how dare you make this change!"

It's "you should step up as chief" yet it's also "we will only listen if Astrid says it's good."

It's "you were literally keeping Toothless captive for 6 years :/" yet it's also "Uuuhhh, time to cut the umbilical cord, don't you think? 🙄"

It's "you let Toothless go free, what did you expect?" yet also "uh, you let him go???"

It's "you are literally nothing without Toothless, sorry :/" yet it's also "Toothless only showed you what was already inside."

It's "you should put Astrid first for once" yet it's also "I, Hiccup, will literally listen to every single word you, Astrid, says even if it's hurtful."

It's "I, Astrid, will suggest to you, Hiccup, that we go find Toothless in the hidden world" yet it's also "I, Astrid, will blame you, Hiccup, for deciding to go to the Hidden World, making the Light Fury, who you have no control over, to follow us back home"

It's "hey man, can you help me with this dragon tail? :(" yet it's also "I will literally not listen to you when I'm about to break this branch that I and the dragon tail are on."

I mean, my God! I'd sent the dragons away if I had to listen to that for the past year after I watched my father die a gruesome death.

And that's not even the worst part. The worst part is Toothless abandoning Hiccup for the most shallow reason there is; chasing dragon tail that doesn't even want anything to do with him unless he does something that impresses her when he's the king of the dragons.

So yeah, probably an unpopular opinion, but besides one bad plan, Hiccup did nothing wrong besides listen to what all the people around him were saying, no matter how much they contradict themselves.

Really, what he needs is a hug. A Real one. :(

[adelinamoteru]

its kinda crazy that yall will apply real world politics and situations to gotham when it comes to jason and his ‘vigilantism’, but never choose to take that angle when analyzing any other bat character’s

brother eye from batman? hello? does constant nonconsensual surveillance seem like an ethical way to keep an eye on supposed allies or stop crime in real life? does beating people up until they comply with u (under fucking duress) seem like the ethical way to produce testimonies and confessions?

but nah, one speech from jason in utrd and yall are up in arms about how nothing he’s saying is actually conducive to lowering crime rates.

at the end of the day, it doesn’t fucking matter who’s right and who’s wrong regarding these morals in real life because the dc universe is so fucking far from reality in the crime that the justice system has to deal with. there is no point in arguing a reality standpoint if its not going to be applied to vigilantism in the bat comics as a whole.

and on the topic of fiction, the willful ignorance as to how jason’s story also portrays a victims revenge/justice is just boring at this point. how are themes in a narrative not coming through to you. especially when doing literature analysis for any of these comics.

[underwhelmingalchemist]

Made this for a discord server I’m in, thought I’d put it here. Remember to be kind to yourself. Yes, even if it’s really funny

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[myokk]

Sebastian had a few days leave from duty so he visited Eloise😇😇

[eddiegettingshot]

actually like... buck is not christopher's dad. he really isn't. he's helping eddie parent but he's not actually a parent himself. and i think trying to exaggerate buck's place in chris's life for the buddie of it all not only does a disservice to eddie as a father a lot of times but... to the buddie of it all. the fact that buck is not at all chris's dad right now but that chris and eddie are not only unfazed when he does but frequently invite him to touch the boundaries of fatherhood - that eddie says you were there for him when i couldn't be - speaks to the weirdness and all the things about them that they can't really name, and it doesn't really make sense to name it preemptively. buck is not christopher's dad but he wouldn't have to think twice about stepping into that role alongside eddie and eddie would let him - that's what's so insane!

[waywardmillennial]

for anyone who is saying "but I wanted ghost files live to come to MY specific city" because you want the ghoul boys to have the time to go on a longer tour

that's why we need the streamer

watcher needs to be able to bring on new talent (like worth a shot and pretty historic) to free up all the founders to do other things

those shows didn't get enough views with the messed up yt algorithm system, so we need the streamer to succeed so they can be more flexible with what they want to create and we want to see

[lemongogo]

< 2023 trgnz

[personishfive]

in which ann takamaki is there

[maddie-grove]

I wouldn’t really object to the anti-sewing sentiment in Catherine, Called Birdy, given that:

Karen Cushman is clearly doing something on purpose by making Catherine the medieval equivalent of a teenager who hates doing these bogus chores and just wants to go to the mall. It’s a book for kids and Catherine’s “ugh I’m so mature now why won’t Mom let me go to a public hanging” attitude is supposed to emphasize that people have always been people but also that the past was unimaginably different.

I get why a Silent Gen/Baby Boomer woman would represent part of the heroine’s struggle as “she has to do very gendered chores instead of going out and doing more active, rough-and-tumble activities.” I grew up in a post-Title IX world, where home ec was either not part of the curriculum or part of a gender-neutral “life skills” class. Cushman didn’t.

One of the themes of the novel is that Catherine (while certainly oppressed) is not uniquely unfree, because everyone is part of a rigidly hierarchical society. Catherine goes from thinking she has the rawest deal of anyone to realizing that other people have similar or worse struggles. Of course she initially thinks whatever she has to do is the worst.

It’s a childhood favorite (although probably not my top Cushman) and I like it.

However: every time she describes spinning as “foolish” (not boring or hard or unenjoyable), I do think “girl that is how you get CLOTHES.” It’s only slightly less essential than farming. This would be a little silly in a fantasy novel or Disney movie, but in a historical novel for children that’s meant to be educational about daily medieval life, it’s actually embarrassing.