Alles was ich war, hast du mit einem Schlag kaputt gemacht. Ich bin nicht wütend, aber sag mir, warum tut man das?

Hab dir doch gesagt wenn du gehst, geh ich auch...

Lass mich allein hier, dann schneid ich mich auf...

Inspired by this post.

nyr@njd | 22.03.22

Asked for responses on Instagram, got more than six characters but these were my faves! It was super fun to draw some characters I normally don't get to. 💙

The daily format really of today really gave me a good reminder of how dangerous is the Count, and how Lucy (and everyone around her) is still blind to this threat while coming with no explanations.

Even if the trumpets of salvation started playing when Van Helsing arrived, I forgot how so far he only has theories, a certain feeling. Van Helsing needs to rule out any illness, sickness, and disease that he knows either in depth or in surface before even touching a possible supernatural explanation for Lucy.

While Lucy still loses blood.

The writing played perfectly all of the emotions that Jack felt with both the telegram, and the letter. Once again Seward's writing style is the perfect choice to give the reader that anxious feeling of what happened after you read his words. The entry starts with this:

"Terrible change for the worse. Come at once; do not lose an hour. I hold over telegram to Holmwood till have seen you."

No greetings, no indications, no explanations, nor theories. Just a tiny paragraph that says that Lucy is in danger. A change so bad that Jack has to wait for Van Helsing to treat her before he sends any information to Arthur. A few words that only tells us the grim possibility of Jack finding Lucy almost dead in her bed.

Also, despite we the readers knowing that Dracula is the one who is responsible for Lucy's suffering the horror doesn't leave just because we have it. How many days Lucy has left? How her getting better then worse is affecting her organs? What if Dracula doesn't directly kill her, and instead she gets sick and her body can't handle it?

Then, Jack has to write to Arthur. We may breath a sign of relief that Lucy is now a little bit better, but there is something... off about this letter.

"My news to-day is not so good. Lucy this morning had gone back a bit."

These words lack the urgency of the telegram to Van Helsing. It's still not good because Arthur knows that Lucy got worse, but it certainly doesn't translate the same feeling, the possibility of the worst. There is no "Van Helsing had to come quickly."

Instead the focus of the letter is finally having the perfect solution of the societal limbo trapped in the Westenra household. At the hands of Mrs. Westenra no less, who finally decides to get help for her daughter, and now both Jack and Van Helsing can actually play the role of doctors without social restrictions.

Yet that doesn't take away the anxiety of the underlying question of Lucy's state.

"If any need I shall write, so that, if you do not hear from me, take it for granted that I am simply waiting for news. In haste."

At the end Jack, just like the readers, only has one option despite all of the dread that he is feeling... he only can wait.

ive posted about my aliens here before but i dont think ive ever posted my rover oc, so here they are! EXPLORER and its rhomboid friend :]

so i am gonna talk abt the delanceys. and i don’t want that to make you scroll away at the speed of light. i want to talk about them in a broader sense, view them in a broader sense, in the way that we talk about jack and his existential need to leave where he is for the west- and, further, going into analysis, like how “the west” in america in the 1890s is a capitalist venture that is sold to jack as this idea of a new home, a better way to live, something that he needs, when the real home is new york with his chosen family and where no one needs to call him “son”.

i think what matters most in the world of the delanceys, and what puts them into a nuanced political stance as well as a personal one, is their father, the striking trolley worker.

i think it’s fair to assume that as a striking worker demanding better wages, as a union member, he deserves those wages. it’s good that he’s striking, that he’s demanding what he’s owed and doing so with his fellow workers. strikers are the right people to support especially based on the historical context of the trolley strike.

but this guy is… an asshole. he dumped these two children into the refuge and left them there to rot, presumably. there’s a possibility he didn’t know about how abusive snyder is, sure, but he knew it was a detention center and that’s not… where u put ur kids when u care abt them lmao.

so this man is a striking trolley worker who doesn’t give a shit about his own children. he’s an underpaid union member who deserves his dues but also lets his two sons suffer for years alone in a children’s jail. he fights the system to his benefit while submitting his two kids into a different one. the dichotomy is important here- it’s essential to the foil the delanceys are for the newsies.

the delanceys are strike breakers. strike breakers are, obviously, paid under the table to disperse union-led strikes and protests to uphold a system that benefits the rich- who of course will always benefit from underpaid work. the delanceys take money from this upheld system when they get the opportunity and beat strikers bloody who don't get to benefit from this system like they do. because they do benefit from that elitist system, since they are choosing to make money off of it outside of their usual job. right.

but within those strikers is their father. the father who left them to rot, who let wiesel scrape them out of that jail and enlist them at a dead-end newspaper gig. so the brothers hate this father, this striker, this piece of family. and this father is making all this noise with these other people- these people who support their father as his coworkers and fellow union members, and the delancey brothers' leave that strike with their fists red with more blood than solely their father's, since they're angry and good at it and the money is hefty.

and their childhood is semi-revenged, but at what ethical cost? they've served broken bones to plenty of workers just trying to fight for their fair pay- something that the delanceys can relate to, by the way, since it isn't like their wages are too stellar for how many hours they're forced to put in. but they put down these people--innocent sans their father--because they have the opportunity. opportunity for them is bringing others down, and when they have the choice, they take it. gladly. "it's honest work" is shrugged off and believed. "i take care of the guy who takes care of me" is snide. uk costuming has them wearing nicer work coats over their newsie-like attire, concealing their similarities and choosing to align themselves more with the elite, since that's...the only protection they can turn to besides each other. the elite gets them extra pay, and keeps them one rung above the newsies to sneer down at them from. they fight via using the system, since systems are all they've ever been apart of, and when they see one that might benefit them for once, they latch onto it.

and, of course, they're strike breaking again, with adult men and their uncle at their side, against their personal foils- the newsies.

the newsies either don't have family like the delanceys, or frequently have to be apart from theirs. lots of them don't have a sibling they can return to daily, or any at all. most don't have parents or family members. or homes to go back to after work. the system they are stuck in is one that does not work for them unless they make it work, making their own numbers and cash by gambling how many papers they can sell in a day to earn every cent back and then some. creating a system within a system--whereas the delanceys mold themselves into one that exists, again, to the elite's benefit--to survive.

and then, the newsies and their chosen family of brothers choose to revolt against their system in an attempt to dismantle it, or at the very least negotiate it.

and the delanceys' reaction to this, to another strike, to a group of kids going against their system (of which would benefit oscar and morris to join, tbh, unless they don't classify as "working kids" of the city, perhaps putting them at around 18 years old...)?

disdain and more snide comments! "not that i'm complaining, my skull busting arm could use a day of rest" "you working, or trespassing?/what's your pleasure?" and putting pressure on scabs to keep with the system- specifically more with uksies, oscar and morris are sort of dusting tommy boy off and whispering to him. trying to split apart the family the newsies have made with each other. and then ofc they beat the actual shit out of the newsies and in uk they have bats they are full on swinging, whole shoulder into it. you did not uphold this system, and it will destroy you for it.

and it nearly does, because then jack scabs, right? and oscar and morris are in pulitzer's office as the man talks jack through the deal, through the cash. as he must've to oscar and morris earlier that week about strike breaking the newsies. and all three of them all have these nearly matching bruises and cuts on their faces.

and then all three of them go to the cellar, the lowest floor of the elite. together the three of them are in this location with this context. two strikebreakers and a scab. taking the elite's money for their benefit, be it in a moment of fear, resignation, or greed. all the oldest kids in the play, the three who've seen the scars and rips and tears in this world more than any of the others. and for like twenty seconds of stage time jack oscar and morris are the same brand. until of course oscar and morris punch into jack's gut--since they're only "given discretion to handle him as they see fit" if he misbehaves, which jack hasn't, so they punch where people won't see/check--and remind him that he's still below them (literally shoving him to the floor ofc), that they're still closer to the elite.

and yeah, they are, because later, jack again refuses the system, and tosses the money back on the table after rebelling against his terms. in true foil fashion, once jack recognizes that his actions align that which he needs to destroy, he renounces them, while the delanceys remain on the other side of the coin they share with jack.

the delanceys, as a storytelling device, right, are meant to represent what the newsies could fall to, seen with the three initial scabs and then jack in act ii. they are this constant threat of sort of equal size to the newsies through the whole show, always kinda lurking. always being a possibility to become if the newsies ever forget what they fight for and against.

also, jack is....kind of.... like their dad, in their perspective. he's parental with the newsies, he leads them, guides them, and protects them, as well as constantly getting the better of the delanceys. why should someone like a father get to fight the system again? not on their fucking watch.

i think it's pretty clear that oscar and morris are meant to represent corruption on the small scale, thematically, while pulitzer is corruption at the top- since it all trickles down. and i think it's really important that this motif is consistently upheld within the brothers, since it sort of alters the message of the show to at least drastically change that abt them. they are the nearest branch of corruption to the newsies guys. that is so fucking cool

jelix gets so much hate and people act like it's truly problematic. It's so funny to me. you can hate its fans and not have to justify it with acting as if the ship itself is somehow offensive.

sorry y'all can't see the beauty in 70s repressed homosexual adultery and the consequences of it being tragedy. i forgot the kids these days haven't even seen brokeback mountain.

(mockingly) youre gay AND irish

So I saw a screenshot of Ralph without his hat (for his wedding outfit + I think a DLC outfit didn't have it?) and honestly. There's a reason he wears it. It's unfair if he doesn't. Olive Town really is just "hot bisexuals in your area" and they would thrive if they advertised it as such.

I did a vine theme for pumpkin carving this year. A pumpkin pumpkin and a rose pumpkin.

I'd made a poll asking whether to do vines or draw Dan and Valerie from Danny Phantom, or both. ...And although 'vines' won, the idea of adding something Dan and Val related was too compelling. The thought of deep red roses with their thorns being like Valerie. ...And, well, I suppose Dan's like a big heavy pumpkin being thrown at stuff?

I tried making the plants wrap around an object representing them, Dan in a D shape and Valerie in a triangle shape. Though it's not very noticeable.

This was the kiss he’d been waiting for. It was a gunshot. It was prairie fire. It was the spin of Makker’s Wheel. Jesper felt the pounding of his heart—or was it Wylan’s?—like a stampede in his chest, and the only thought in his head was a happy, startled, Oh.

A wild baby Robbie appears! Will you join his wiggle dance?

Baby Robbie belongs to @/clownsuu

I started listening to TMA 8 or 9 days ago and I’m up to episode 112 already I cannot be stopped

“Are you a knight?“

"I'll be damned if I wasn't. Would have risked my life for nothing, if all I was supposed to do was bake bread."

The Pillars of the Earth | Chapter 3, Book 1