Well that officially was the worst finale and season I’ve ever seen. Like nothing got resolved. Nothing made any sense. EJ didn’t even fight for the relationship or have a chance to say anything to her. He just walked away. No way in hell his character would do that in Season 2. Nothing makes sense. Rina have absolutely no chemistry at all. Ricky had more chemistry talking about Nini giving him a lotto ticket then he had kissing Gina. What a waste of Season 2 build up. What a stupid plot device. What a dumbass way to get a stupid ship together for fan service. The only glimmer of hope is maybe since Portwell broke up now maybe next season there is a chance they can get back together or become civil again. But I don’t really have faith in the show anymore. It was so good Season 1-2 & after Olivia left it went to crap. And I hate that they are just catering to Rina because that’s what they think the fan base is. The ship is horrible. He treated her like crap for two seasons. Didn’t think of her at all. Then in one season magically suddenly cares and makes the time for her because Nini & his other prospects are now gone. Give me a break. I just want justice for EJ. His character has been treated like shit. He deserves a win.

Pain is a great motivator…

Part 26 || First || Previous || Next

—Full Series—

Meanwhile Toriel:

(Loud noises don't wake her up usually.)

Artist note: I’m so proud of this :))) I know it’s a lot of dialogue and reading, but dialogue is grueling work for me. I’m glad with the art and for the amount of pages I made in such a relatively short time span -w- page 5 was super fun to work on. A lot of blood, sweat, and hours here... :) The backgrounds were a big bore tbh, but I finished them! Yippie!

You ever think about how neither of them got to say goodbye?

no jarchie kiss no problem. not on my watch

see the thing about Astarion to me is I don't actually think he has a clue who he actually is beneath all of the everything he's got going on. he's got impulses, he's got drive, a will to live, he's got desires and amusements and cravings, but an actual selfhood?? no. there's a blue error screen where the person of him should be, the person -- whoever that was, I'm personally of the mind he likely wasn't good then either, but we'll see where the story takes us -- before Cazador. the man in front of us today is this mishmash of interior delight at freedom and sunlight but also capable of true unapologetic cruelty and willingness to be ugly in a multitude of ways. so he follows the impulse. he follows what intrigues and amuses, and nothing will take that freedom from him again. and he reflects back onto others the violence that was done unto him. a lack of power kept him down? now he wants to accumulate power, so it can never be turned on him again. but he also misses the sun while he's underground. he's mean and desperate and ruthless and it's interesting because he's unapologetic about it, he's unflinching about it. he's vindictive and mean and desperately floundering around throwing stuff at a wall to see what sticks in terms of personhood because who is he now. 200 years of horrific servitude and now he's just out and about and he's in the mud.

and he can be horrible. and yet when you take the routes of prying open the faaairly shallow veneer he has of smug and snark and snappiness, he'll give you pieces of the raw and the desperate -- "I want to know what the world sees when it looks at me. what you see." is a line you only get if you're earnest with him. any other path in the dialogue will have him continue the shallow persona you've come to know. and in all of that I think nothing is "this is real, this is an act," set in stone because I just don't think he even knows, I don't think he has a CLUE what's his and what's the protective measures and what's the real delight and what's the cruel mockery of his surroundings and what he's willing to give vs what he needs to hide vs what he lets slip out on accident. the inconsistencies in his own ideas and what he says and what he does. I think most everything about him is in a weird place of deeply uncertain. is it a lie? is it a glimmer of truth? for me, I like to interpret him in this weird menagerie of half-truths and shallow lies and omissions, because we've only known him a short while and maybe also he doesn't even know the answer yet. who is he? fuck if HE knows. anyways. smash.

Joyce staying at the cabin with Hopper and El to keep them safe bc no one in Hawkins knows they’re alive. Will, Jonathan and Argyle staying at the Wheeler's bc they have more room and presumably aren't in danger like the others.

OH WAIT there's a witch hunt for the Hellfire club, which means all the boys are in danger from the townspeople. OH WAIT the boy who came back to life has returned from the West, the same boy whose assumed death jumpstarted this small town's curse in the first place! The same boy who apparently everyone and their fathers knew was gay...

THE END IS NEAR! THE GAYS ARE RESPONSIBLE!

+ Time jump early somewhere in between.

Now picture how that would look in an 8 episode story format, leading up to a final battle lasting about 2+ hrs, and that's loosely how s5 is gonna go down.

do you guys ever think about how out of them all farleigh was the next real thing. felix haunted the hallways of saltburn with his electric rays of light of naiveté, not malicious but borne of wealth and shelter, and oliver reached for that light like it was the sun. the cattons were adjacent, fantastical islands of that pool of light, and oliver was a drying plant that never saw the real thing and mistook a lamp for a life. an insidious parasitic vine, it's his nature. he offered felix the attention, the quiet adoration, he offered the other cattons the stares, the touch, the longing. and felix was a fantasy, a ghost since day one, a promise of warmth.

but farleigh was there. he was real. he was burning with anger and rage and boiling just beneath the skin. and it irritated oliver, it made him feel something that he couldn't control, and he couldn't control farleigh because he had nothing to offer him: not attention, because farleigh could see right through that front, not control, because you cannot control a 20-year-old incessant fire, not the surrender of it because power and wealth has been a low-hanging, spoiled fruit for farleigh, he yearns for and despises it, he has no desire for it.

killing off a lamplight is painfully reversable, mundane, easy; switch on and off at will, you will not feel a moral dillemma. it is in oliver's nature. but farleigh was real. and what can you do, accustomed to imitation of heat, when met with the raging warmth of life? do you guys think that alive and angry, farleigh was the next real thing. do you think he must live because oliver must know that there is a life at all. do you think

The thing about my students is I love them, but every time I think "oh I should work on my graduation speech", within five minutes I'm so mad at them I have to put it down because I have to be nice in it

More cringe memes. Lucrecia Edition.

new elden ring milestone achieved

the umbrella academy fandom really said all of the siblings can fuck up and do horrible things and lash out because of their trauma. except for the black woman cause that’s not allowed

I can tell you're a writer because in your most recent Soukoku post, the choice of wording for the caption actually has a double meaning and I'm just now realizing it...and that's what makes it all the more gut-wrenching.

"In love with tragedy" at first glance is referring to Chuuya falling for Dazai despite his untimely and deliberate demise, resulting in Chuuya's incarceration and detainment. Dazai is the tragedy because he is doomed by the narrative, even despite Chuuya's love. But that's where the second meaning comes in. Dazai is the one that is in love with tragedy, because despite his efforts the facade that he so carefully puts up shatters around him, making him realize that fate is inevitable and this is how it will always be. No world will have a happy ending as long as Dazai is in it. That is his fate. The ferverous obsession that borderlines infatuation to change the narrative is reflected in the caption.

Anyway if you couldn't tell I'm super obsessed with your piece and I actually love all of your art sm :)

OH THIS IS SUCH A GOOD ANALYSIS OH MY GOD........thank you for taking the time to type this you're so correct and real and true for this anon. also fun fact i am NOT a writer but i am an artist so that comes pretty close i would say

hes so small!!! :((( he’s just a little guy!!! (he is a thirty year old man that is also capitalism personified) i want to scrunch him up into a little ball and put him in my pocket

Okay but why haven't we had a time travel/fix it fic where after some shenanigans everyone decides to take down shinra, they split up to take out the important figures, sephiroth obviously takes hojo for any and all of a dozen good reasons.

And then hojo pulls a winter soldier sleeper code on him.

And then everyone is suddenly dealing with a brainwashed sephiroth.

-

Hojo has to have some way to control sephiroth as he grew into his monstrous strength and power, yes? And learned helplessness isn't enough of a reassurance your prized military leader powerhouse isn't going to wake up one day and realise just how easily he could paint the labs walls red with chunks of you. And because hojo is obsessed with total power and control, dealing with a murder machine with huge mental issues, it'd only be fitting he create his own emergency shutdown.

In the most needlessly traumatic and mentally violating way, of course. Would sephiroth even know, if he couldn't remember? Would he have long stretches of emptiness in his memories that never get explained to him, or would he wake up where he'd blacked out, just another day in the labs?

Imagine, his allies watching on the cameras, as sephiroth stalks into the labs, a predator sighting its prey, exchanging a few cold words with hojo, raising masamune... And then hojos mouth opening, sephiroth going stiff like an animatronic, rearranging himself on the floor where he stood, face hidden behind his hair. Hojo leaves the room and he doesn't move, doesn't respond to any comms or passing scientists accidentally rolling a cart over his coat and hair.

Hojo ordering sephiroth to reveal their plans, their allies, their resources. Sephiroth doing it. Hojo deciding to punish sephiroth for the rebellion with lab procedures, or hojo ordering him to hunt down his co conspirators and end the takeover. Sephiroth doing so, heavy in his steps, crashing through walls and doors, heedless now of morals or civilians, silent, unresponsive. So completely unlike the jenova malice they'd been prepared to fight, that sephiroth had been bracing against. No arrogance, no mocking, no dramatic battlefield or hungry glowing eyes.

The puppeteer becomes the puppet, and with it, every trace of holding back. The perfect soldier.

I imagine the first trigger word would be lucrecia.

Logging in just to say that my forest cannibalistic gay trans man is wishing you a very happy & safe pride month! 🏳️‍🌈🏳️‍⚧️

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