#t. manager

[inorganicorgan]

Adne Hardware: We Sell Hardware Just Hardware Don't Look Into It

@randosfandos

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yippee!

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yayyyyyy!

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[cheering, applause]

Ĥæqi! My full Legal government name is Trustworthy Human Manager and I'm the manAger of Adee Hardware, which is a totally normal hardware st oøore, that makes hardware, the best kind of ware! waow.

And we sell the best kind of hardware!! Twoual wield hammers! Really powerful drılls! And frankly slightly weird nails in whatever shape you need them to be! We're äwesome.

Come visit our biggest store at FIVE.... (oh no oh guck oh oh oh no)... zero one zero two point one ESS one forty-FIVE ZEROFIVETHIRTYTHREEPoint fourrr. Doubleyouand see why we've got such glowing reviews!

We'll be waiting..👁👁

[0104-vikita]

DISCLAIMER: SEMI-EXPLICIT VIOLENCE

This is probably one of the most infuriating comics I have ever done. I had to go for a more "sketchy" style since doing all the slides in my usual super-clean-line art style would have taken a lot of time. I also did the colors very opaque to give a more serious tone.

If you pay attention to the scale of the room and everything on it, you'll see that it is HUGE. Made on purpose to try to be consistent with the atmosphere of the show. I also did the plushies and figures kind of inaccurate to show how she may not remember quite well how the actual characters looked like.

I'm honestly still not sure of whether he would rip a drawing apart, so don't take it too seriously. Someone please ask @gooseworx if this was out of character for Jax or if he legit would do that lmao.

As a little clarification, the comic is called Vent art because of what Gangle is doing, not because of the comic being MY Vent Art. I usually don't use art to vent.

[sunlit-mess]

Just give it one more day

[anghraine]

So one of the revelations from watching the entirety of TOS is that Kirk and Spock's relationship is not only every bit as homoerotic as rumored and then some—though it is—but that they are also incredibly fucking unhinged about it. So for this week's poll, I wanted to honor this discovery!

(The character limitations don't allow for much detail, and in context these are even more incredible, so I'll add the links/clips/summations beneath the cut!)

1— "The Empath" (Season 3)

Context: the girl of the week, Gem, is a member of a species of mute empaths able to absorb others' injuries through sympathy and generally drawn to positive emotion. Meanwhile, Kirk is tortured by other parties in the episode to test her willingness to take on others' suffering, and he falls into an exhausted unconscious heap on a bench.

Gem starts to head away towards McCoy, but is suddenly arrested by something she senses and turns to look at Spock, who is moving over to sit next to Kirk and watch him sleep. When Spock realizes he's being observed, he turns away and pretends to study data in his tricorder. Gem isn't fooled, however, and walks back over to him, touching Spock's shoulder and staring at him with wonder in her face over this simple feeling whatever his emotion is while delicate music plays in the background. See for yourself:

2— "Shore Leave" (Season 1)

Context: Kirk is fatigued and strained and in physical pain after ... uh, everything (this episode was aired immediately after "The Conscience of the King" and "Balance of Terror," so it's not hard to buy). He tries to stretch out his back and Spock, standing behind Kirk with his hands on the back of the captain's chair, pulls his hands back and asks him if something is wrong. Kirk explains it's just the kink in his back. A pretty female yeoman starts massaging his back (uh) and Kirk welcomes it under the mistaken belief that it's Spock doing it:

"That's it. A little higher, please. Push. Push hard. Dig it in there, Mr.—"

Spock lifts a brow and pointedly steps forward so Kirk can see it's not him, and Kirk immediately orders the yeoman to stop with a meaningful look at Spock.

(Bonus episode points: Spock's smug satisfaction at tricking Kirk into taking shore leave where McCoy failed, and them grasping at each other when they're in danger.)

3— "A Taste of Armageddon" (Season 1)

Context: After Kirk successfully uses a risky gambit to trick two neighboring peoples into making peace rather than continuing to murder millions of people via computers, he explains his thinking:

It was a calculated risk. Still, the Eminians keep a very orderly society, and actual war is a very messy business. A very, very messy business. I had a feeling that they would do anything to avoid it, even talk peace.

When Spock is dubious about acting based on "a feeling," Kirk adds:

Sometimes, Mr. Spock, a feeling is all we humans have to go on.

Spock replies:

Captain, you almost make me believe in luck.

And then Kirk dials it up to:

Why, Mr. Spock, you almost make me believe in miracles.

Then the camera just focuses on Spock visibly trying to process this and the episode ends.

4— "Requiem for Methuselah" (Season 3)

Context: this is one of relatively few episodes in which Kirk actually gets to pursue a woman because he likes her rather than desperate circumstances; as usual with people he cares about, she dies. He's so emotionally drained at this point in the show that, upon returning to the ship, he describes his immortal rival for her love and himself as "A very old and lonely man, and a young and lonely man," mutters that he wishes he could just forget it all, and falls asleep at a table.

Meanwhile, Spock (who has been visibly intense and uncomfortable throughout the whole episode) stays nearby as McCoy enters. Spock gestures at him to stay quiet and McCoy briefly exposits a plot point to Spock, then segues into an unexpectedly vicious, half-smiling monologue about what Kirk's gone through in the episode and how Spock could never understand it:

Considering his opponent's longevity, truly an eternal triangle. You wouldn't understand that, would you, Spock? You see, I feel sorrier for you than I do for him, because you'll never know the things that love can drive a man to. The ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, the glorious victories. All of these things you'll never know simply because the word love isn't written into your book. Goodnight, Spock.

Spock just endures and politely replies "Goodnight, doctor," but after McCoy leaves, he allows himself to respond. Without so much as a scene break, Spock slowly walks over to the unconscious Kirk, touches his face, and mind-melds with him while he sleeps. And then he wipes Kirk's memory (!!!) of the tragic romance with his rival this girl, murmuring:

Forget.

5— "And the Children Shall Lead" (Season 3)

Context: a simple instance from a weak episode, but also ... damn, it's a lot. A bunch of children under the malign influence of an evil imperialist alien have managed to take over the Enterprise. This isn't the first time something roughly similar has happened, but at this point, Kirk has a full on panic attack as he and Spock leave the bridge and take the turbolift. Kirk clings to Spock as he melts down and Spock unsuccessfully tries to calm him with "Captain," but it only works when he murmurs, "Jim."

Kirk freezes and then immediately calms back down to his usual rational self. Spock is still concerned and Kirk assures him he'll be fine now (and is).

6— "Miri" (Season 1)

McCoy, Janice Rand, Kirk, and Spock are all gathered around trying to figure out the disease of the week, which has infected all of them (though Spock is asymptomatic). Kirk and Spock lock eyes and Spock points out that they can't go back to the ship, including him since he'd be a carrier, and then he adds:

Whatever happens, I can't go back to the ship ... and I do want to go back to the ship, captain.

Kirk smiles slowly and they just stare at each other as if Janice and McCoy had dropped off the face of the planet.

7— "The Tholian Web" (Season 3)

Context: Kirk is trapped in a different phase of space while a local anomaly is gradually driving the crew of the Enterprise to insane rage. At the same time, the hostile Tholians are threatening the Enterprise with the obvious intent of killing them all within short order, and Kirk's disappearance places Spock in command throughout this triple crisis. Spock refuses to order an escape, instead insisting on the Enterprise remaining in place to keep trying to rescue Kirk, homicidal insanity of the crew be damned, even as the Tholians began attacking.

McCoy urges Spock to prioritize the welfare of the Enterprise and its crew above Kirk, telling him they can't afford to stick around and keep trying. Spock refuses and things predictably get worse.

McCoy confronts him about his priorities:

You should've known what could've happened and done everything in your power to safeguard your crew. That is the mark of a starship captain, like Jim.

Plot events lead everyone, including Spock, to believe that Kirk is dead, and as acting commander, Spock also has to lead the memorial service:

as a result of the battle, we must accept the fact that Captain Kirk is no longer alive. [...] I shall not attempt to voice the quality of respect and admiration which Captain Kirk commanded. Each of you must evaluate the loss in the privacy of your own thoughts.

McCoy continues to lash out at him directly afterwards:

He was a hero in every sense of the word, yet his life was sacrificed for nothing. The one thing that would have given his death meaning is the safety of the Enterprise. Now you've made that impossible, Mr. Spock. [...] I really came here to find out why you stayed and fought. [...] You could have assured yourself of a captaincy by leaving the area. But you chose to stay. Why?

Spock coldly replies:

I need not explain my rationale to you or any other member of this crew.

They snap at each other until they find the recording left for both of them by Kirk in the case of his death. It (hilariously) begins:

Bones, Spock, since you are playing this tape, we will assume that I am dead, that the tactical situation is critical, and both of you are locked in mortal combat.

The message is honestly both wise and heartwarming about how they should respect each other and both have important qualities to offer in a crisis. McCoy immediately feels ashamed of how he's been behaving at such a moment, and tells Spock:

Spock, I, er, I'm sorry. It does hurt, doesn't it?

Spock bleakly replies:

What would you have me say, doctor?

8— "Turnabout Intruder" (Season 3)

Context: in the very peculiar series finale, Kirk's autocratic and vengeful ex-girlfriend uses some kind of machine to take control of his body, leaving him trapped in her body. Spock notices almost immediately that "Kirk" is acting out of character and that "Janice" clearly knows something, so he goes to talk to "her" and Kirk tells him everything. Spock thinks it's possible but there's no certain proof, and Kirk urges him to mind-meld with him:

You are closer to the captain than anyone in the universe. You know his thoughts. What does your telepathic mind tell you now?

Spock melds with him and is promptly convinced.

Bonus: Spock tries to help Kirk escape shortly thereafter and holds his wrist/hand for a good twenty seconds.

9— "The Paradise Syndrome" (Season 3)

Context: Kirk becomes a carefree amnesiac stranded on a planet of transplanted Indigenous people (it's as bad as it sounds), but there's a much more well-done subplot around Spock commanding the Enterprise in the meanwhile. He stubbornly risks the ship (again) to try and rescue Kirk, but the attempt disastrously fails, leaving the ship with only impulse power. McCoy says in some frustration:

Well, Spock, you took your calculated risk in your calculated Vulcan way, and you lost. You lost for us, you lost for that planet, and you lost for Jim.

Despite his exasperation, McCoy still tries to get Spock to rest. Spock simply ignores him and orders the ship to head towards the planet Kirk is stranded on, still stubbornly set on rescuing him, even though they have no warp capabilities and have to travel entirely by impulse power. When McCoy protests that it'll take months, Spock replies:

Exactly 59.223 days, doctor.

And there's no clever solution around it, either. They do take nearly two months getting to the planet and Spock spends 58 days of the journey fixated on figuring out the puzzle that will allow them to save Kirk. McCoy tries to get him to eat or sleep, since he's done little of either for over 50 days, but Spock refuses to do anything except prepare for rescuing Kirk:

I'm also aware when we arrive at the planet, we'll have barely four hours to effect rescue. I believe those symbols are the key. [...] I am not hungry, doctor. [...] My physical condition is not important, doctor. That obelisk is.

McCoy eventually threatens to call security to force him away from studying the puzzle and make him lie down, so Spock finally goes to bed. As soon as McCoy is gone and out of earshot, Spock just gets back up and returns to contemplating the puzzle until he has a breakthrough.

Then upon beaming down and finding an injured, still-amnesiac Kirk, Spock mind-melds with him to try and repair his memory.

I am Spock. You are James Kirk. Our minds are moving closer. Closer, closer, closer, James Kirk. Closer. [...] Our minds are one. [...] Spock!

Spock breaks the link and falls back, gasping. When McCoy asks what's wrong, Spock just says:

His mind. He is an extremely dynamic individual.

10— "The Enemy Within" (Season 1)

Context: Kirk has been split into two people, representing each half of his personality: one half is noble, intellectual, and restrained, but cautious and indecisive, while the other is strong and bold, but vicious, selfish, and violent. At this point in the episode, Spock et al don't know about the split, so good!Kirk is oblivious and evil!Kirk's bizarre behavior is being attributed to normal Kirk. McCoy sends Spock to the captain's quarters to find out what's wrong with him.

Spock dutifully goes to Kirk's quarters, where he finds good!Kirk relaxing without a shirt on and promptly realizes he's gay loses the ability to put normal sentences together. It's difficult to overstate or even describe the homoeroticism of this scene, so judge for yourself:

Bonus: after Spock realizes he's dealing with only half of Kirk and has taken up helping him present a good front, he has to keep correcting good!Kirk's weaknesses and tells him that acting like actual Kirk means "You can't afford the luxury of being anything less than perfect."

11— "Errand of Mercy" (Season 1)

Context: Kirk and Spock are trying to pass themselves off as members of a species of ostensibly docile, peaceful people being (ostensibly) colonized by the Klingon Empire. Kirk in particular struggles to keep his head down, and when a Klingon shoves and threatens Spock, Kirk loses his shit and nearly clobbers the Klingon. Spock manages to calm him down and as they walk away, Kirk mutters:

You didn't really think I was going to beat his head in, did you?

Spock replies:

I thought you might.

Kirk says:

You're right.

12— "Amok Time" (Season 2)

We all know about this one, let's be real. It's difficult to even choose a moment—Spock confiding in Kirk about Vulcan mating practices (Kirk: O_O) and his loathing of the prospect, with Kirk protecting his confidentiality ("I haven't heard a word you've said"), Kirk defending his own choice to implode his career and defy Starfleet (without breaking Spock's confidence) to rush Spock to Vulcan ("I owe him my life a dozen times over. Isn't that worth a career? He's my friend"), Spock telling Kirk he'll undoubtedly find pon farr "distasteful" and Kirk responding "Will I?", Spock begging T'Pau not to let T'Pring choose Kirk as her champion ("I will do what I must [in combat], T'Pau, but not with him! ... In the name of my fathers, forbid. Forbid! T'Pau. I plead with thee! I beg!"), Spock's bleak response to T'Pau's "live long and prosper" after his victory ("I shall do neither. I have killed my captain and my friend"), Spock explaining that his pon farr vanished the moment he thought he'd killed Kirk ("When I thought I had killed the captain, I found I had lost all interest in T'Pring"), McCoy trying to get Spock to admit that his relief at Kirk's survival is illogical and Spock blatantly lying that he is just concerned with the loss of an effective captain, to which Kirk simply responds "Yes, Mr. Spock. I understand" while McCoy splutters ...

But honestly, my favorite is the brief moment of unrestrained emotion when Spock discovers Kirk is still alive and he cries "Jim!" as his whole face lights up and he grabs him. It's one of the only times in TOS that he's in his right mind and yet too overwhelmed to hide what he feels, and it's famous for a reason.

[hornyverymuch]

basically the same picture

[qwantzfeed]

future me has access to more knowledge, so his decision-making should be better, so it's therefore best i let him make all the hard calls.  and all the easy ones too.  frankly, calls of ANY sort are simply none of my beeswax

[kyurochurro]

lil Hawkeye and Mulcahy doodle to relieve some stress! i like them a lot hehe ✨

rip margaret's garden 😔💔textless version below the cut!

[mountainfucker69]

armand study. i stand with my cancelled wife

[shouyuus]

unfading memories/price of perfection

vi is married with cait, living in a grand kiramann household, with a secure job. There’s nothing to really complain about, however one day she reunites with the reader by chance and realizes the perfect life she’s living in isn’t what she wanted.

She decides to wash out the dirt beneath cait��s nails.

send me one + a character and i'll write you a drabble

─── Ⅵ LIKE MY WHISKEY NEAT (or, the price of perfection)

violet; sfw, fluff and angst; vaguely implied infidelity

it was a good life, vi thinks, smiling at caitlyn from across the market, the bright progress day sun beating down on her shoulders, making her skin go tacky beneath the thick fabric of her enforcer's uniform.

it was a stable kind of life, vi reflects, letting cait lace their fingers, lean down to murmur something about a trinket or other. there's a badge heavy around her waist and the dull buzz of the crowd humming somewhere behind her ears.

"— this year… vi?"

vi blinks, shaking her head, "huh? oh — sorry cupcake, got distracted." vi flashes cait a half-strung grin. cait smiles, the uncertainty that had once sat behind her ocean eyes having flashed off the with the passing months, years…

vi swallows, following behind cait as they work their way through the vendors on the bridge of progress, ostensibly on "patrol" but vi knows (and so does everyone else who sees them) that its just a glorified shopping trip.

this is what you've always wanted, vi thinks, staring up at the moon-slatted ceiling, cait lying by her side. her breathing is steady, her honeyed scent familiar and slightly cloying. its a scent that vi's grown to love, she tells herself — to love.

"do i really have to wear this?" vi asks, plucking at the dark red organza monstrosity currently strapped around her torso. cait tuts, glancing at her in the mirror.

"its not for long — you know how big this council gala is —"

vi sighs, her hands dropping to her sides as she watches cait fuss with a pair of sapphire drop earrings the precise color of her eyes. something inside her flops — its a soft, sagging kind of feeling — and vi wonders why it feels so suspiciously close to where her heart used to be. she takes a breath and puts on a smile, the kind of smile she remembers offering to powder when she wanted to placate her, the kind of smile that's tight-lipped. the kind that doesn't quite touch her eyes.

this shit itches — it's the only thought vi has as she waddles her way through the piltover glitterati, cait laughing softly behind her hand at something someone's said, the sound prickling at vi's skin till she can't help but to scratch at the material of her top. thankfully, cait had spared her the horror of wearing a dress and had only insisted on a pair of tight black slacks.

someone somewhere tries to press a glass of something into her hands but cait only smiles and waves it off.

"sorry. gin, vodka, or champagne only, please."

vi purses her lips into what she hopes is a convincing grin before turning away.

the music starts, and a stream of feathered burlesque dancers flow onto the small stage situated at the center of the room, surrounded by a mote of champagne glasses. guests gasp with delight as the dancers start to sway in tandem with the music, a few clapping as a few dancers fall into graceful flips, each layer of brightly colored bodies falling away like the petals of a blooming flower, and at the center, rising above all the rest —

vi's breath catches; her heart thumps like a fist against her sternum, heavy and insistent.

you.

you'd always been beautiful, the kind of beauty that is in and of itself a defiance, especially in a place like zaun. vi can't believe how much she's forgotten, but it also startles her how much she can remember the moment she sets eyes on you — the sound of your laughter, the coco butter smoothness of your skin, the twinkle of lost stars caught behind the twin mischief of your eyes.

you'd been friends, once — or perhaps even more. but neither of you had been old enough to know the name for the unspoken thing that had strung between your bodies, glimmering and gossamer thin, caught with the pendulous dewdrops of adolescent longing.

the world falls away as you start to dance, twisting your body around a long metal pole striking up to the ceiling. men and women alike share appreciative, covetous glances at you, and you bask in the attention, glowing beneath the attention and concentrated stage lights — glowing. vi hears nothing of the music, but she feels the breath and swell of it in the way you move; she doesn't know the words but she knows that it's a love song without ever having to stop and listen.

for a second, your eyes flicker down to meet hers, and the recognition she sees there paralyses her.

a breath, and the dance has finished. the song tapers out even as the room rumbles around her with thunderous applause. you sweep into a deep bow, and vi fights for a breath you've long since stolen. she grapples at her own chest with a hand, gasping. by the time she looks up at the stage again, you've gone, but she's pushing her way through the crowd before she can stop herself.

a pair of hands catch her arm and she twists around to see cait's wide, questioning eyes.

"vi? where're you —"

vi swallows, licking her lips, "i'll — i'll be right back," she says, and her stomach clenches at the taste of the lie — she's long since forgotten how sweet they could taste. she sees the worry flicker out of cait's eyes as she lets vi go, nodding.

vi turns and tries not to gag around the bitterness already welling up the back of her throat.

she finds the dressing rooms without much difficulty, following the soft laughter and click-clatter of dancers heels and the tantalizing smell of perfume oils. when she peers around a slightly opened door, she catches sight of one of the other dances, who glances at her as the door creaks, a knowing grin slung around her hips.

"ah — she's here," the dancer says, shooting vi a playful wink, jerking her head towards the back of the room. vi doesn't even have time to question how this dancer knew just who she'd been looking for before her gaze falls on you again and the words slip from her, as does all coherent thought except —

"oh."

you turn, your eyes limned with kohl, your cheeks dusted with rouge. there's a sparkle to your skin that vi suspects isn't entirely natural, but the way you smile is everything she remembers and more. a thrill tingles down her spine, and suddenly, the dressing room feels too small and too big all at once, space pressing in and pushing out till she's stumbling forward.

"if it isn't zaun's very own piltover enforcer," you say, drawing out your vowels as you twist around to grin at her. the oxymoron of your words don't escape her, and vi feels heat flush into her cheeks as she presses her lips.

"i — it's —" she clears her throat, curses inwardly, and tries again, "it's been a long time."

you bite at your bottom lip in a gesture so familiar vi's entire stomach flips.

"yeah, i mean —" you wave a vague hand at the shape of her, standing awkwardly in your dressing room, her itchy, tulle-pleated top making her skin prickle worse than ever. an amused grin spread across your lips even as vi resists the urge to yank the entire thing off, "i never thought i'd see you in something so…"

you trail off, searching for a suitable word. finally, you settle on —

"festive."

vi frowns, shoving her hands into the blessedly deep pockets of her slacks.

"it was just for the party," she says, feeling more defensive than perhaps absolutely necessary. you shrug, light and uncaring, turning back to your mirror, picking up a small white pouf to dab at the bridge of your nose.

"even so, i hear you've been living the good life," you say, glancing at her from the reflection in the mirror. vi crinkles her nose and takes a few steps forward, something very much like a scream building in her chest, though she doesn't quite know why.

"it's —" her breath cuts off as she realizes the knee-jerk denial that had bubbled up out of her before she could even think to stop it, acerbic and mind-numbingly honest. you pause mid-pouf to pin her with a look, and for a single, solitary second, vi can almost pretend you're both kids again, her watching you primp in the reflection of a shard of mirror (broken, of course — probably stolen), leaning against the edge of her and powder's bunk bed.

"it's… not all bad," she finally manages, to which your answer is a single derisive ha of laughter as you continue to dust a fine shimmer of light powder over your already flawless skin.

"sure," you say, your voice going saccharine in a way she's always hated. vi sighs, dropping her eyes. she realizes then that she'd been fiddling with her fingers, an old nervous habit she thought she'd kicked years ago.

"it's not —" she says, though her voice wavers, and when you make a noncommital noise, vi huffs out a breath. "this — this is what i've always wanted — what we've always wanted — i — i'm — happy —"

you set the pouf down and lean forward to straighten a few strands of artfully loose hair framing your face before twisting and pushing yourself up from your chair. like this, you're almost nose to nose, and vi has to suck in a breath to keep from the tantalizing thought of tipping forward, if to find out if your lips were still as sweet as she remembers them to be.

you cock you heard, watching her with dark, light-stricken eyes.

"vi… i never said i thought you were unhappy…" you say, your words low and steady.

vi's heart skids; her stomach clenches. a dull, pulsing ache is settling behind her eyes that she does not have the name for but perhaps, once, it'd been a familiar thing — want. that sparrow-wing thing, desperate as it beats up against her chest, threatening to crest like a tide of feathers into her throat — back when she could still remember what revolution tasted like on her tongue.

"r-right…" she breathes, falling a half step back, even though you haven't made a single move towards her. she runs her fingers through her hair, tugging on the ends just to ground herself in the sting against her scalp.

"but…" you say, and vi's eyes snap up again to find you watching her with a grin curling at the edge of your lips, a molten, midnight light caught behind the flicker of your lashes. you take half a step forward and vi feels the air rush from her lungs at your advance, "if you want… we could sneak out for a drink," you offer.

vi nearly gasps as the sudden rush of certainty that floods through her, thick and hot as adrenaline, at your words.

"y-yeah — i think — i think i can swing that."

you laugh, softly, lightly. then, you peer at her from beneath your thick band of lashes, a wicked grin twisting at your mouth as you cross the gaping cavern of space between you.

"tell me, violet…" you whisper, brushing your lips by her cheek if only to feel her shiver beneath you, "do you still take your whiskey neat?"

a whine almost works its way out of vi's throat as she hisses out a breath, nodding.

"yeah — fuck — yes. i — i do."

[vyxated]

~ hide everything but headline effects (shader toggler update) ~

Updated my shader toggler setting after being suggested of this idea/feature by @surely-sims ~

This will hide all live mode UIs without hiding affecting the headline effects (which gets hidden if you use the tab mode).

Requires Reshade/Gshade and the Shader Toggler add-on. Works only on DX11.

Download the latest update on the main tumblr post below:

Patreon post here

[yelleyem]

me sitting in bed going through the same scene in a g/t scenario over and over bc I can't progress a plot point for the life of me

[so-very-small]

i’d be such a good borrower. the best! if it wasn’t for the fainting syndrome and the joint pain and the fatigue and the vertigo and the gastrointestinal issues and the brain fog and the muscle tenderness and the motion sickness and the

[teddylovestea]

*trying to get some privacy during the party* (1/2)

Happy Birthday to our little lord *:･ﾟ✧

[so-i-did-this-thing]

30 year old pre-everything trans guy here. I've been imagining what I want to look like, how I want to dress after I finally start T. Then you come up on my feed embodying exactly how I want to look? Incredible. Love to see it. Thank you for posting candidly about your fashion journey. I hope to have even half the style you do one day.

Thank you! Be kind to yourself through your journey as you experiment. I am still atoning for my trilby douchebag sins in Year 1.

I like to think I wear much better hats now at Year 14.

[kr-210-r2700-prime]

cuddle your robot wife immediately

+bonus

[shaadowmilkcookie]

One of Shadow Milk’s many prop replicas of himself, left behind. Even though the eyes are forever staring straight into the distance… Oddly enough, you still feel like you’re being watched.

But surely, though, it won’t hurt to take it home and touch up the colours, right? :)