like gale made the lovely sky for tav. he would try and replicate the sun for astarion. besides being hard at work with trying to secure him a way to see the sun again, gale would most definitely try and replicate a sunrise for astarion.

ALT

They’re having a steel samurai marathon

It's just... odd to me, I suppose, going from "what is in my pants is completely irrelevant to most anybody else's life" to the expectation that you must be completely open, essentially, about what is in your pants.

I think a lot of people understand the general idea of why it's bad decorum to demand people offer explanations for private information like this, but they don't analyze exactly why it's bad besides, "asking directly is just rude" and not "asking in any way still enforces the often violent nature of gender and sex, and putting people in the 'right box' is a part of that violence."

It's especially odd when seeing other trans people enforcing the idea that "what's in your pants?" is a genuine, good-faith basis for interacting with others.

Tbh I think it'd be really interesting if Doorkeay was less just a romantic ship or more of like… at first they were uneasy allies since they had both been wronged by the same person and had some bitterness and anger about it, so they had a common opinion of "fuck the Magnus Institute" even if they didn't necessarily trust each other yet

Slowly, the two spend more and more time around each other, planning things, discussing discoveries they've made, seeing if either has made any progress in figuring things out, and they start to move from uneasy allies to actual friends. They no longer only keep their meetings formal and purely goal-oriented. They find themselves slipping into friendly banter and casual conversation, even when it's not what they came for

They end up realizing they have a lot more in common than they could've ever thought, and that they actually make a good duo and appreciate each other's company after everything both of them have gone through

Michael doesn't try to hurt or deceive Gerry at any point. It doesn't only care about him as a vital ally, but also someone it actually, genuinely cares about

Gerry goes from being wary and suspicious of Michael to valuing his abilities and insights, to actually also seeing him as a friend, and someone he, too, genuinely cares about

They aren't lovers, but they have a bond deeper than others could have ever imagined either of them ever having with anyone. They are important to each other, and they won't let the other go

telling myself i can't start another tdwt rewrite but dear god do i want to write one focusing on alejandro and courtney in this weird situationship thats a lot more nuanced than just alejandro manipulating courtney and her falling for it. like theyre best friends they dont trust each other theyre the same person they dont know anything about the other one theres a mutual attraction theyre pining for other people theyre codependent they dont care about each other theyre platonic soulmates like i just want to do a deep dive into how messy that relationship couldve been building off of their friendship that exists in my head except the line between romantic and platonic is so fucking blurred they have no idea what they are to the other person

I don’t really ship 87 Ramona (although I do love the idea of them in a QPR) but. If they did feel romantically for each other it would take forever for them to actually get together, if they even do, in sharp contrast to the 2012 “we’ve known each other two hours now we’re committed for life” speedrun. Raphael would have fallen in love years ago but would not recognise this fact once. Mona Lisa is also part of the problem. She has a layer of superficiality she always uses as protection over her true feelings, so how does she even know her flirting is sincere? How would Raphael be supposed to know? She’d overthink it. Also she’s a lesbian so falling in love with your best friend is like mandated and agonising. She’d have accepted her fate and already resigned herself that it’s never going to happen. She’s just happy they’re close to each other. Meanwhile Raphael thinks “huh, I want to marry her” then goes about his day. This realisation occurs multiple times but he never reads into it.

Toast to a Saint

CHECK AND MATE ♟️

'Best man' can’t even tie a bow tie 💒

Thinking about how Link trembled before Mipha's statue in Breath of the Wild as he remembered who she was to him, and how his heart must have ached in Tears of the Kingdom when he saw her again in the beautiful court built in her name.

due to a. number of reasons (including but not limited to breakdowns on multiple bodily levels [emotionally i want to cry but mentally i cannot and therefore i only cry for about 5s physically which is Not Enough]) i am currently seeking fluff (sfw only!!) for my ships (tagged). can be on tumblr or ao3 or whatever- tumblr pls dont let me down /lh

comment or reblog with links or titles! im not afraid to go searching lol

One of my favorite ship thingy or whatever it's called.

When Character A is standing up while Character B is sitting on something and B presses their head into A's stomach and A just holds B's head and UGH! So tender!!

ough,,,, you givb me lust brainrot,,,,,,, hes jbust a littol guyTM,,,,

-juni

HECK yeah 🫶🫶🫶 good thoughts, i hope ! he deserves to be appreciated 💜

mme whne,when lust sans does anything that's so very him

(emoji src)

I'm still thinking about that scene in Victoriocity S3E7 where Fleet runs back towards the Beast so as to lure it into the path of the train...

Clara's exclamation of 'Teamwork, Fleet!' after Fleet says he's got a plan reflects her conviction that any plan that Fleet has will be a shared plan, something they do together.

This conviction is a kind of trust, and that trust is part of the reason Clara takes a moment to realise Fleet has headed back towards the Beast. She trusts that he's following behind her. She keeps talking to him, her words full of optimism.

When she realises Fleet isn't there, she immediately realises what that must mean he's done, and her voice sounds more small and scared than I think we've ever heard it before.

Fleet's attempt at self-sacrifice is a kind of betrayal of Clara's trust, but when he echoes her celebration of their teamwork in a more somber tone, I think it suggests that he understands the weight of that betrayal.

If Fleet's plan is that Clara won't realise he's gone until it's already too late, then he thinks "Teamwork, Clara" will be the last words he'll ever speak to her. In what he imagines will be their final conversation, Fleet affirms Clara's understanding of them as a team who work well together, even as he is making a choice that rejects the possibility of their teamwork in this scenario. It's a recognition of what their dynamic has meant. It's a goodbye and an apology, even if Clara doesn't understand it as such at first.

I don't think Fleet sounds scared as he initially faces down the train. When he shouts "Yeah, this way, you stupid machine! Come on then!", he sounds defiant and grimly determined.

In fact, I don't think he sounds afraid until Clara appears, until she might be at risk of being in the path of the Beast or the train as well. It's when he shouts "Clara, stay back for God's sake!" and "Please, get back!" that there's real fear and desperation in his voice. He can confront the idea of giving his own life, but not the idea that doing so might put Clara in danger.

Another thing about these lines is that the move from 'stay back' to 'get back' suggests that Clara didn't obey his first instruction but got closer to him (and therefore to the path of the Beast and the train) between those two lines.

Then Fleet gives what might be another attempt at his last words: "I'm sorry! I'm sorry."  A repeated apology before an attempted self-sacrifice is an implicit acknowledgement of how much losing him would hurt Clara. He regrets causing her pain.

Even so, he's accepted that he is about to die and that it'd be worth it to destroy the Beast. But Clara very much hasn't accepted either those things. She's still trying to yell over the noise of the train; she's pulling off her ring to throw at him.

I think it's a good illustration of how Clara's optimism is a kind of strength. She always believes that they can "make a new plan" and that it'll be one in which no one has to die. I think Archibald Fleet needs someone like that, someone who'll tell him to drop to the ground when his death advances from both sides, someone who - even in a dark tunnel with an murderous metal monster and a speeding train - won't stop shouting that there's hope.

I decided to go on a Hiatus because I want to step back from prsk fandom buat I need to say something about this take (warning for Ensekai leaks)

Translation is fucking hard

What's impressive about this scene is Tsukasa specifically use BOKU (僕) and not his preferred pronoun ORE (オレ) to call himself

The emphasis is there so the JP readers could understand how impactful the fact that Tsukasa is not even using his preferred first pronoun because he's actually not being himself but being RIO EVEN IN HIS OWN HEAD

Tsukasa isn't being himself. On the contrary, he's completely, 100% become Rio at that moment

While English has a lot of third person pronouns, Japan has a lot of first person pronouns (compared to English measly "I"). Just like Western has their preferred pronouns, so does Japanese (of course their 1st person pronoun is interchangeable in the context of social interactions). Too bad that this nuance for Tsukasa's dialogue can't be replicated in English. I argue that putting emphasis on the "I" actually do Jack Shit because the emphasis is on the DIFFERENT PRONOUN IN JP. It's like when you hear someone calls a person as a "he" for a long time but then one person suddenly calls that person as "she" (I think, I know western are kinda sensitive on their pronouns but I can't really relate). Anyway it's THAT jarring

The second line is where the tl team kinda needs to wrack their brain, 届かない. No subject, no object. The scene before the sentence flashed back to Tsukasa crying after remembering how he felt how unreachable his own Phoenix is, and it's how he understands Rio's helplessness right at that moment. Using "it" actually makes the sentence sounds pretty vague. What does "it" refer to? "The level that he wants to reach?" It only applied to Tsukasa and not Rio. "The phoenix"? Kinda rude to call the phoenix as "it" though. Besides, using EN pronouns, Tsukasa's phoenix is a "he" while Rio's phoenix is a "she". That's why JP can have that sweet ambiguity while the EN translators need to think super hard about the implied object here.

There's two nuances happening here, and the Ensekai tl team decided to translate it by context of Tsukasa AS Rio: "I can't reach her". I'm guessing that they agreed that the flashback to that scene in chapter 7 means that Tsukasa at that moment completely understands Rio, HE'S RIO BECAUSE HE USES 僕, so they decided that it's Rio's thought and not Tsukasa even though the text box says Tsukasa and the JP implied that Rio and Tsukasa become one. I think the the EN line is okay, kinda missing some deep nuances but that's what translation is. You can't expect to be able to translate all those cultural nuances.

Maybe the alternatives might be "I can't reach my/the phoenix?" More straightforward but we can have a nice title drop lol