#like what was her thought process

[cautionwetfloor-png]

(future) Eve telling Mark that she's in love with him The Same Day Amber broke up with him AND THE SAME DAY he killed his first man in cold blood will never Not be fucking insane to me. Like. Why did she do that. What the fuck was she thinking

[hinamie]

sympathy for cain

[heartorbit]

find another role, carry on the show

[themetalhiro]

Wapeach?.. Wach? ….Weach???

[doodlebeeberry]

no but what was taco expecting her to say actually i wanna know

[moghedien]

it actually drives me personally insane that they gave Karlach an outlander background when she's LITERALLY from the fucking city

[poisoned-pearls]

Because Jamil and Azul wanted Nami to know both of their own languages, after she had started speaking they adopted the “one parent, one language” model for bilingual children (and eventually adding ‘English/standard common language in twst which for me would be English’ at school and other places)

This did however lead to an era where Nami had absolutely NO CLUE that her parents could actually speak to each other. She’d grown up hearing abt the mermaid princess SHE got a husband without saying a word it made perfect logical sense that her parents were together despite being unable to speak to each other as well.

So for the longest of time, whenever one would give her a little test (like Jamil asking her to bring Azul a folder he left in the living room to his office) she took it with GREAT importance, because SHE was their only lifeline!! Only She could foster the communication between them, so she had to make sure it was perfect!!!

Genuinely she believed 100% her dads had never spoken a word to each other. There was one time specifically where Jamil was leaving to go hang out with ruggie, and she ran off to go say goodbye at the door. Azul absentmindedly just went “tell your baba I love him!” As she scurried off and her little brain just exploded.

Bc that was also the first time she had ever been told that! To her this was the first time Azul had EVER said I love you to Jamil. She fucking RAN to Jamil and just jumped while going “papa said he loves you!!!1!1!1!!1” bc to her this was like. The BIGGEST moment ever.

(Of course Jamil was not entirely aware of her thought process at that moment, and simply kissed her on the forehead before saying “goodbye dear. Could you tell him I love him too?” Which lead to little Nami freaking out more and like. Basically jumping Azul on the couch. That is when Azul REALIZED that she thought they just spoke their one language-)

@ghostiidasponk @stormyscrapez @squishosaur @snowwhite0430 @inotonline

@mello-bee @thehollowwriter @meowbyul @lowcallyfruity @saneriddlefan67 

@driedupeyeballs @shadowy-skies

[driftingballoons]

Good choice, what could go wrong?

[bowsbar]

pillowbook thoughts because ive been thinking about them all day!

[fictionadventurer]

Beauty and the Beast for the WIP game?

My only real attempt at writing poetry before this year happened during a stretch when I tried to write a Beauty and the Beast retelling in verse. I got about two-thirds of the way through before it fizzled out and languished forever unfinished.

When it comes to my recent novel-in-verse obsession, the simplest option would be to take another look at this work and try to finish it. There's a lot of terrible poetry in there, but there are some that are somewhat better than I remember. I can't claim to be a judge of what's good poetry, but some of these are readable, so I'll share some of them here.

The first set of semi-readable poems covers the first meetings between Beauty and the Beast. (These are all numbered, and I'm leaving the numbers in place to better differentiate between separate poems. I think the speaker in most of these is fairly clear from context, but just in case, I'll put the speaker's name in the title, too.)

VI. beauty and beast

he is every nightmare i’ve ever forgotten he is thunder and darkness and death he is fear with fangs he is beastly

she is every dream i’ve never dared for she is roses and sunlight and life she is hope with jewels she is beauty

*

VIII. beauty

the chair creaks when he sits

my knees quake when he speaks

the master laughs when i ask

when i will die

my ears doubt when i hear

my mind reels when i realize

the master wonders when i began

to think he’d kill me

IX. beast

the rules are these you are mistress of this castle the servants will obey your every whim the rooms and all within are yours including me

you will dine with me at dusk we will not speak if you want silence you will look at me and try not to scream

i will not harm a hair of your head i will not cause a moment’s worry you will do whatever you wish except leave

X. beauty

his mercy shatters my world makes it bigger and at the same time smaller

how can i live in a monster’s cage

my life will be long and lonely with him my friend and at the same time jailer

how can i look at a monster’s face

the castle teems with wonders that all belong to him and at the same time me

what do i do with a monster’s love

*

The next set of poems I feel like sharing starts with Beauty finding a portrait in the castle, and then leads into her sharing a dance with Beast that makes her kind of freak out over the fact that she might be falling in love.

XXII. beast

today you found a painting in a long-forgotten room covered in cobwebs and shrouded in dust

there was a reason it was lost

the portrait showed a man with a face like the dawn and eyes like the sea you thought he looked kind

he was young and a fool

you may keep it if you wish or lock it back in darkness it matters not to me i used to see him daily

i doubt i’ll see his face again

*

XXIV. beauty (and beast)

if rooms have souls the ballroom is wise a radiant beauty long past her prime

she treasures the days when she lived and was loved she keeps them and counts them like pearls on a string

(she is not the only one, my dear)

long past midnight in moonlight and hush this sleepwalking girl can glimpse former days

a flash of a gown and a whisper of waltz what glorious balls must this room have beheld

(they were marvelous indeed, my friend)

it seems a shame she grows old alone with nothing but darkness and dust held within

i would dance for her return the spark of life if only we had music and i had a partner

(i will gladly dance with you, my love)

XXV. beast

my dear beauty don’t you know i learned dancing long ago

one step closer take my hand with a waltz you’ll understand

let the music guide your feet in a dance that’s slow and sweet

hand in hand and heart to heart it’s not love but it’s a start

XXVI. beauty

he is hulking beastly

i am small delicate

i should be stumbling crushed

but

we marvelously miraculously dance

and it feels like flying

XXVII. beauty (to the portrait)

man on the wall i may be mad but i must give voice to the storm in my heart and you are the only one near

the master puzzles me i know his home as well as my own but i know so little about him

(is he beast or man or nightmare or dream or captor or friend)

i saw his face and thought him a beast

(but he grows roses and reads poems and has never killed or even raised his voice)

i heard his voice and thought him a monster

(but he spared my life gave me his home and all he owned offered his heart and never once has been anything but gentle)

i watched him dance and thought him a man

(with grace like an angel or a prince and i think that maybe he was not always so lonely and that his heart aches for things lost)

what am i to think do say be feel about him now

and why do these questions always come at midnight

*

The final poem is one that I had completely forgotten about, so I was shocked to find it lurking in the latter sections of the document and showing signs of using some decent imagery. By polishing up the last couple of lines, I've got something that's not half bad as a standalone poem.

This one occurs during an extended period when Beauty is still trying to process her feelings toward Beast and figure out if this is really love or if her feelings are being warped by isolation and close proximity.

XXX. beauty

if this is love it is a dark and grasping love a child stumbling in the night crying for a candle flame and cherishing the smallest spark of light

if this is love it is a bleak and desolate love a skeleton tree in a barren desert windbeaten and scrubbed to bone and bursting into bloom at the first drop of rain

if this is love it is a smoke and mirrors love a sleight of hand or trick of light that takes my broken heart and fools me into thinking he can make it whole

[salty-dracon]

the mere existence of harue shigima paranormasight absolutely flies in the face of every piece of 2012-2016 feminist discourse arguing that “you can’t write a compelling self-sacrificial housewife character” or that “housewives are antifeminist” because it subverts 0 tropes and relegates women away from the public eye and makes them only child managers. and i LOVE that about her

not only is she an important character within the narrative of paranormasight, including the most important character in her side of the story because you’re playing from her point of view, but it is HER choice to resurrect her son, no matter the cost. it is 100% her choice, and you hear that from her point of view. in fact both ayame and richter argue it at the end of her route, and they’re totally right that harue is ultimately being selfish. harue may be driven by grief and anger, but it’s 100% her grief and anger, not given to her by anyone else.

she doesn’t lack agency because she’s a housewife either. she’s more than willing to commit murder under her own set of conditions, if that’s what you call agency, and her movements aren’t restricted by anyone. richter himself pretty much does whatever she tells him to, with his role being the investigation ability needed for the operation.

and there is so much depth to her. there’s a total apathy for everything, and a dislike for her own home. wouldn’t you be hollow inside if there was only one person in the world you truly loved, and it was taken away from you by a murderer? beyond that apathy is grief for her loss, and anger for the one who killed her son, and selfishness and yes, her choice to sacrifice herself if necessary for the sake of her son. still, it’s not all negative. she has fun watching richter horse around with kids, for instance. her point of view shows you so much about her personality, and it reflects the thoughts of a person, not the thoughts of a throwaway housewife.

basically, i support women’s wrongs, but there’s so much depth to those wrongs and i’d be doing a disservice if i didn’t point out that she is an amazing character before those wrongs.

[fivewholeminutes]

thanks to that one masked collective i have finally ventured into the digital art territory and i'm making this everyone else's problem now

[brainrotdotorg]

getting extremely self indulgent tonight and thinking about alice and kim and their relationship and how many different fun iterations of it i looooooove thinking of. he practically raised her as she was a junior officer and she worked under him religiously and now theyve surpassed teacher and student and become amazing friends. or they didnt meet until later in their careers and alice was nervous about meeting a legend in the RCM and kim was apprehensive to work with someone younger but they realized that the other was just a regular person and now they get along just fine. or alice is still an officer that distantly pines for his approval. maybe she has a little work crush on him. maybe she knows he's gay because she is too. maybe they have a father/daughter adjacent relationship maybe they have a messy close fag4dyke friendship . they could be anything. come with me into my beautiful mind

[blueskittlesart]

do u have any navi thoughts from your oot replay

i've been waiting to answer this until I actually beat the game in my current playthrough because navi is another one of those characters that i think of in like a "set" with several other characters who serve relatively the same thematic purpose; in this case that purpose being the "mother" character, and i wanted to have all the characters in that set fresh in my mind. it's notable that while oot shows us very clear and consistent instances of the ways in which the adults of hyrule fail to protect their children, there ARE several adults who DO go out of their way to both oppose ganondorf and protect and nurture the children under their care. All of these characters are adult women, and all of them explicitly help the children out of some sort of parental responsibility or sense of duty towards them. in this group I include link's late mother, impa, nabooru, and navi.

all 4 mother characters, despite being adults or adult-coded, reject the inaction mentality which characterizes other adults in the game. they become either direct supports or shields to their children from the conflict the world has to offer them, and they are always explicitly punished for their interference--link's mother is killed trying to protect her son, impa's village is burned, nabooru is brainwashed. The mother's fatal flaw is that she will protect her child above all else, even in a world in which children cannot truly be protected. however, with the exception of link's mother, these characters manage to persist even in the face of her punishment, and this is where I think navi becomes the exemplary character.

Navi, after a lifetime of being link's only support system, the only adult in his life he could truly, consistently count on, receives her punishment at the hands of ganondorf--in the final battle, she is pushed out. she is unable to reach her child. she cannot protect him. However, BECAUSE link has grown up with her at his side, he is strong enough to take ganondorf down. and when ganon rises again, navi is there to support link, promising not to leave his side, and the intuitive targeting of that battle (a mechanic which navi is inherently tied to!!) makes it a cinch to win. Navi, and the other mothers we meet, are a reminder to the player that the world doesn't HAVE to be the way it is. Their persistence when punished, their insistence that their children ought to be protected, is a reminder that good adults do exist, and that good adults raise good children. link and zelda are able to win in spite of the adults who refused to help them, but also BECAUSE of the adults who DID. It's a reinforcement of the core theme of oot--that childlike idea that the world SHOULD be good and fair and if it isn't, it should be changed until it is. The mothers of oot are examples of what the world COULD be, reminders that it is possible to grow up without losing hope or growing bitter, and they are examples of the next step for the children they've raised to change the word--to continue fighting even in the face of punishment, to refuse inaction, and to foster that same hope and persistence in the generations to come.

[project-sekai-facts]

mafuan ghost nagi event when

if i had time i would doodle something for this because it's funny enough to make me want to do that but unfortunately i don't. anyway remember how an is terrified of ghosts?

[beaulesbian]

Trigun Stampede s01 || Vash + the reflection on his glasses

(edit: added one i missed)

( @crazymadredfox​ thank you for the mention of this part!)