#that's another post i need to make

[diamantent]

I have so much to write out about this and I'll start here — despite the bold and sure-minded way Seki presents himself, he's got a lot to work on when it comes to being a leader. He'll freely admit that — it's not a secret.

What he doesn't discuss about that mindset is a bit more personal. See, the title of clan leader isn't passed down from parent to child, but it just happened to wind up that way in his experience. He was raised in that way where his parents put him on a bit of a pedestal because he was quick to befriend a pokemon ( his eventual leafeon ) and he had a natural leadership among the kids his age. It also helps that he's so wholeheartedly outspoken about his belief in mighty Sinnoh.

That pedestal carried on to the others in the clan, and he was encouraged time and time again to take the position. He leaned into it, finding it a satisfying idea to one day be leader. When he was ready for it, of course.

He lost both of his parents in the same incident ( which also left him with the scars he carries to this day ) and the title was just thrown onto him immediately after. The Diamond Clan needed a leader. They needed someone with the experience and the personal connection to the two they'd just lost — and who better than the son who was told he was meant for it from the start?

The rest of the clan knows. They know not to bring it up too much. Now and then he'll get an assurance that they'd be proud of him, but discussing the events with anyone from the Galaxy Corps, from Jubilife, and Sinnoh forbid from the Pearl Clan — out of the picture. You've got to get to know him before he'll talk about that.

[princessmoms]

Rare and Ruff!!! - By OverlordNeon

Finally dipping into making comics by introducing Rarity's business partner, Pek the Gem Hunting Diamond Dog!

She is visually based on a breed of Mexican hairless dogs, the Xoloitzcuintle.

Original Concept Design, for fun:

[Patreon]

[ghosted-jazz]

I am not immune to this car salesman fairy and his traumaised iPad kid

[tzarrz]

i listen to fog lake too much

[soosoosoup]

Funk branch au

Au and branch design by @bbc-trolls

[the-woman-upstairs]

Really fucked up that, when they’re young, Patrick and Art are SO tactile with each other, so comfortable sharing the same space. Art lets Patrick touch him and move him and physically overwhelm him and easily acquiesces to it, if not outright enjoys it.

Then in the present, they’ve been so far out of each other’s orbit for so long, held such animosity that when they have their moment alone in the sauna, Art physically recoils from Patrick’s close proximity! It’s so painful to watch because even as Patrick’s goading him, it’s so obvious he wants to be able to get back into Art’s space. But Art has erected all these walls around himself, he refuses to give Patrick an inch or even admit to missing how close they used to be!

AND THEN we see Art and Tashi later and he wants her to hold him, to be gentle with him, and just TOUCH him. Like, he does miss that kind of close physical contact! He either doesn’t know how to ask for it or is uncomfortable being that openly vulnerable. Worth noting that he pretty much always defers to Tashi in regard to initiating physical intimacy (with their first kiss, though he does state his desire, SHE has to be the one to make the first move). And it seems pretty obvious that Tashi herself isn’t comfortable providing that intimacy, whereas Patrick actively seeks to provide it (the hug/forehead kiss after their win together in the early years, dragging the stool closer to him).

Art has tried very hard to act like he doesn’t need physical affection and even though his discipline and devotion to Tashi has made him a stronger tennis player, it’s made him a hollow person, which, in turn, has kept him from becoming a GREAT tennis player.

All of this, of course, is why the ending hits so damn hard.

[fireandiceland]

✨ Hetalia characters as famous paintings ✨

Italy: Sandro Botticelli, La nascita di Venere (The Birth of Venus)

America: Grant Wood, American Gothic

Germany: Albrecht Dürer, Selbstbildnis im Pelzrock; Feldhase (Self-Portrait in Fur-Collared Robe; Young Hare)

England: Thomas Gainsborough, The Blue Boy

France: Claude Monet, La Femme à l'ombrelle — Madame Monet et son fils (Woman With A Parasol - Madame Monet And Her Son)

Japan: Hishikawa Moronobu, 見返り美人図 (Beauty Looking Back)

Russia: Ivan Kramskoi, Неизвестная (Portrait of an Unknown Woman)

China: Unknown, 百人物像 冊 絹本 (One hundred portraits of Peking opera characters) (special thanks @maibluemen for helping me with this one!)

[smileyobrien]

The B in Beckett stands for... [insp.]

[starry-bi-sky]

this just in: danny fenton is just as much of a mask as Brucie Wayne? - another danyal al ghul au

Turns out, being placed in a civilian family who have no knowledge of your background is actually detrimental to the health and development of a child assassin due to lack of proper support! Surrounded by strangers in a foreign city, Danyal Al Ghul does as assassins do best. He hides. Espionage is one of many teachings one learns in the League, and it only takes half a day for Danyal to construct a new persona to hide behind: Daniel Fenton.

By the time dinner rolls around, Danyal al Ghul is safely and securely tucked behind the face of Danny Fenton; brand new adoptive child of the Fenton family who came from overseas. A shy, quiet little boy with a thick accent and curly hair, with brown skin and blue eyes, and an avid interest in the stars. The best fictions are always cobbled together in a little bit of truth, it's some of the only truth he ever lets through. He apologizes in a meek voice for his behavior early, he didn't mean to be rude, and he watches the three of them eat it up with coos.

Lies roll like silk against his lips, he struggles to meet their eyes and offers them his weakest, shyest smile. It's too easy. It's easy to go from there.

Danny Fenton, adoptive son, shy and awkward and unconfident but friendly. Who struggles in his classes and isn't the brightest, but tries his hardest. He makes bad jokes and has a quick tongue and a sarcastic mouth. He wants to be an astronaut. He's got the best aim in school, and is a terrifying dodgeball player. He's one of the least athletic kids in his grade.

It's like playing two truths and a lie, but there's only one truth, and the rest are lies. It's easy to pretend when he knows it's insincere.

Danyal Al Ghul, grandson to the Demon Head. Deadly, trained assassin. Has spilled blood, has had blood spilt from. Environmentalist, animal activist. He loves the stars. He owns a calligraphy set. A sharp tongue, an even sharper blade. He's clever, quick-witted, he would be top of his grade if he tried harder. He purposely doesn't.

He misses his family. He misses his mother, and he misses his brother. Mother visits a few times a year, so few times that he can count it on both hands. He cherishes every visit, as brief as they are. It helps remind him who he is.

Sam and Tucker are Danny's best friends. They've never met Danyal, but Danyal's met them.

It becomes routine to become Danny Fenton. As familiar and as easy as pulling on a shirt in the morning. Danyal wakes up and is always first to the bathroom in the mornings; stares at himself in the mirror until he can finally see Danny staring back at him. At night, he locks his door and sheds the mask.

Dying throws a wrench in his mask; splits a crack straight through the porcelain. He's able to smooth it over with sandpaper and liquid gold, but it's a little hard keeping his ghost form under wraps. It instinctively wants to shift to show his true self. Danyal can't have that, he's spent four years as Danny Fenton, he'll spend another four as him as well. Even if the feeling of the hazmat suit in his ghost form feels restrictive, like a too-small shirt suctioned to his skin that needs to be peeled off.

He'll live. Er-- well, you know what he means. It's frustrating however, trying to keep his Danny Fenton mask up even as Phantom - fighting in the air is something he needs to get used to, and the sudden propping of powers throws him off. But he is nothing if not adaptive, and he hates that he needs to slow his own skills down in order to keep pretenses up in front of Sam and Tucker.

The first time Danyal summons a sword when he's alone, is one of the few times Danyal gets to grin instead of Danny. He's fighting Skulker, and from an invisible hilt he draws a katana from thin air. It startles them both. Skulker takes a step back at the smile that spreads across his face.

They're both silent as Danyal examines his new sword.

"Do you know what people like me do to people like you, poacher?" Danyal finally asks him, the accent he began to hide a few months in slipping through. He drops all pretense, dragging the flat end of the blade slow and appreciatively against his palm. It's a good make, and when he cuts it through the air, it slices through like butter. He looks up at Skulker with a smile; "are you ready to find out?"

When Sam and Tucker ask about why Skulker seems so skittish around Danny now, Danny shrugs at them and says with a playful smile; "I don't know, I guess I kicked his butt too hard after our last fight." and he watches as Sam rolls her eyes exasperatedly, and Tucker snickers with his own joke.

By the time he reunites with Damian before their 15th birthday, Danyal is buried beneath so many layers of Danny Fenton that his brother will need a shovel to dig him out. He's not sure what he'll find.

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[crippledasinfuckyou]

sometimes a healthy relationship isn't 50/50 because it can't be, and that's okay.

disabled people who cannot take on an equal portion of the work in a relationship deserve to be loved too, if that's what they want. and as long as their partner is getting the support they need, and is happy to take on that work, then what's the issue? it's nobodys business but your own the way that works in your relationship.

if you or your partner are disabled, and you can't split the work in the relationship 50/50, that's okay. you're not abusive, or a baby, or unloveable because of that. I promise

[warpedpuppeteer]

It's interesting how Buck's love interests are all written in a way that ends because of the reason they meet/happen in the first place and then of course, we have Eddie.

Abby, who changes Buck's view of a healthy relationship but then turns around and ghosts him, making him wait for months on end and letting him realize she's not coming back on his own.

Ali, who meets Buck during a dangerous situation in his line of work and then leaves him for how dangerous his work is.

Taylor, who lashes out at Buck for using her as a fake date and saying she thought she could trust Buck to be a friend who then ends up using him for her career and chose to put his friends in danger.

Natalia, who's there to help him embrace and deal with his temporary death but it leads to their break up because of the constant talk surrounding death when Buck's not comfortable with it.

We can't confirm for Tommy till it ends but it's important to note how he offers to get Buck into his interests like flying and muay thai yet doesn't show effort with Buck's interests like dressing up according to the bachelor party theme despite Buck being stressed about it. And we also have the fact that the entire reason they got together was due to Buck's jealousy for Eddie which he then claims to be was for Tommy. Makes me think they are either going to end because of differing interests OR because of the jealousy issue popping up again.

Funnily enough, every scene above has an Eddie parallel:

Eddie co-parents with Buck and not only does this not stop after a dangerous event but Eddie also has Buck down as a legal guardian (healthy relationship - Abby).

Eddie is in the same dangerous line of work and they have each other's backs. This happens right off the bat too.(dangerous job - Ali).

The Lawsuit era and The Dispatch era - both where they "betray" each other but manage to work through it (betrayal/lie - Taylor).

Eddie doesn't pressure Buck to talk about his temporary death until Buck's ready and is more focused about him living than in his death (death doula - Natalia).

Eddie who has different interests than Buck (poker, basketball and UFC/MMA) but also manages to show interest and actively takes part in whatever Buck comes up with; he suggests their outfit for the themed party AND ends up staying there for Buck even when others leave (different hobbies & showing interest/taking part - Tommy).

Absolutely fascinating when you start noticing that Buck's relationships keep failing for one reason or another and then we have him and Eddie who face the same sort of situations but they still come out of it stronger together.

It's clear that there's a reason Buck is able to overcome anything when it comes to Eddie (that conversation with Maddie about being there for each other even at their worst 👀) and we've already established that everything Eddie looks for in a partner is already something he has found in Buck. So really, all that's left is for them to realize that hey, the one I'm looking for is right in front of me! 🤷🏽

And yes, it's been said to death (hah) but you don't find it son you make it. And Buck and Eddie have already made it.

[yrsonpurpose]

Imminent status as a revolutionary gay icon.

[athina-blaine]

It's interesting how Laios struggles to remember Kabru's name right away, yet is able to recall the feeling of his grip well enough to immediately understand that something isn't right (Kabru being cuffed)

[xxplastic-cubexx]

oh noooo or whatever

bonus aka The Real Motive Behind This:

SURPRISE double bonus. textless ver of the first pic under the cut

[yvtro]

i think in general sometimes when people interpret characters they give them too much credit in a sense that they forget that people are often very much contradictory in their beliefs and sometimes they believe one thing but do another like. sometimes people say they want to leave when they want to stay. sometimes they stay when they want to leave. sometimes they say they understand something when they don’t and sometimes they say they don’t need things that they’re desperately yearning for. and if you want to create an appropriately multi dimensional reading of a character you need to accommodate this.