To Danny, Jason feels like a ghost, but he has no core.

AKA, something straight out of his nightmares.

So, when they meet for the first time (whether it’s just passing each other in the street, visiting the same library or having one save the other) Danny immediately cries out in Ghost.

Mourning, Apologies, Too Late, Helplessness, Grief.

It’s wordless, yet understood perfectly. And after Danny does that, he takes in the fact that Jason is still here. He hasn’t faded. So he bursts into other noises- Chirps and whistles and warbles, all tinged with static at the edges.

Sick? Hurt? Relax, Safe, Not Alone, Will Help.

Finally, he drags Jason through the nearest portal to the Ghost Zone, on his way to go find Frostbite.

This whole time, Jason is practically frozen. This kid he just met knew he died, was heartbroken over it even though they never knew each other, but now was promising to help him, to not leave him behind?

(The pit was quiet. It had been working so hard to create a Core, after all, but it wasn’t like ambient ectoplasm. It was all it could do to keep its host going. But now? Now it could breathe, and it could finally do its job.)

So you know of other fairytale-theme school medias?

oh yeah, there's a few! the one I was thinking of specifically was Ever After High; I was mostly into the dolls, but I also really liked the webseries and the Shannon Hale novels! Apple was my definitely my favorite. 🍎

yesterday I was explaining the intricacies of lok to my friend who has only seen atla, and he (like the rest of us) just couldn’t get over the fact that they made toph a cop. he was trying to figure out what about toph’s personality (you know, considering that it’s entirely antithetical to becoming someone who acts as an agent of the state to enforce systemic violence) would lead the writers to this conclusion. and it occurred to me that I do think many people, even those who vehemently denounce toph’s copness, do sort of assume that toph loves violence for the sake of violence. she is introduced as saying “I love fighting, and im really really good at it,” and she is shown committing various acts of violence against others (including her friends) with a grin on her face. but I still wouldn’t characterize toph as someone who employs violence for violence’s sake.

toph is, externally, defined by her limits. she is small, she is blind, she is young, she is a girl; she was raised to be soft and delicate and helpless. toph’s first true expression of freedom is when she learns to use her disability as a boon and uses her earthbending not as a weapon, but as an extension of herself. to toph, earthbending is a form of self-expression. it is an artform. I think people tend to forget that when toph says that she loves fighting, she’s not just saying that she loves the thrill of beating arrogant, gigantic, muscled men thrice her size (although of course there is also that), but she’s also saying that she loves practicing a martial art for artistry’s sake.

unlike the boulder, who only listens to his big muscles, toph waits, listens, innovates, creates, hones her craft. and while her earthbending is indeed a martial art, it is also a site of innovation, a visual art, and most importantly, a disability aid. the earth is an extension of herself; it is her artistic medium. yes, of course toph does love being able to exert power over others as a ragefilled tiny twelve year old blind girl who has been denied agency her entire life, but power is not her primary motivation when honing her earthbending. she cares about craft, about innovation, about being one with the earth. unlike all the other earth rumblers and dai li agents and earth kingdom soldiers, toph is a deliberate, thoughtful, considerate earthbender. fighting is an art, and toph is an artist.

it just keeps getting funnier how tairn keeps reaching record-breaking levels of single dad energy

i'm barely on chapter 20 but his life up to this point has pretty much consisted of:

"I just put the baby down for a nap!!"

threatening the school principal for trying to murder picking on violet

"DON'T WAKE THE BABY!!"

very short date nights once a week with sgaeyl where i'm sure too much time is wasted catching up on all the kids

keeping violet from breaking her neck with extreme gymnastics

DON'T. WAKE. THE BABY.

case study of the self-identified god

Okay but it’s a little funny how the flour disease makes the Cookies pale

Like the Dark Cacao Kingdom Cookies are quite literally being whitewashed. Them specifically

Love Between Fairy and Devil 苍兰诀

Make Me Choose: Best Remake → Resident Evil 4 Remake (asked by @hereticstations)

griefaversary jumpscare.

it's officially been five years since the loss of my dad. i think that means i'm healed now, right? anyway, my dad is the whole reason i started tmnt: stabilize, so my brain and hands decided we'd draw splinter.

one of the things that really bothers me about modern franchises, and in particular over the last 5 years or so, is their refusal to commit. what i mean here when i say this is that it's not uncommon for a major franchise to make a decision, whether about the plot or the characters, that should have had huge, world-changing consequences... and then just never address that again or worse, immediately go back and undo it. and i'm gonna pick on star wars and the mcu here because those are the two big franchises i'm into at the moment (and i think they're kind of the worst at this), but i don't want you to walk away from this thinking that this is solely a disney thing. i've seen this happen with game of thrones and supernatural and plenty of other non-disney franchises. spoilers ahead, you've been warned:

in ant-man & the wasp quantumania, scott and hope make the life-altering decision to stay behind in the quantum realm and defeat kang instead of going through the portal to return to their world. this should have been a huge meta decision for the mcu, and when i first saw it in theaters, my immediate thought was wow, what is this going to mean for the mcu going forward? are we going to get a movie/miniseries about scott and hope helping to rebuild the quantum realm? how are cassie, janet, and hank going to react to the losses of their loved ones (in some cases, for the second time)? is cassie going to become the "first" young avenger because she has to take her father's place among the team lineup (and i only say first because as of this moment, none of the other young avengers introduced to the franchise are official avengers yet)? except nope, because less than 2 minutes later, cassie had fixed the portal that had broken way back at the beginning of the movie and brought scott and hope back.

and it felt like such a cheat. i was so disappointed in that theater, not as someone who was invested in these characters on a personal level (because yay, cassie gets her dad back!), but as someone who has spent years investing themselves in the story of the mcu. what was the point of wasting screentime on scott and hope accepting their new lives in the quantum realm if it was just going to immediately be undone? the entire scene could have been cut to scott and hope making it back bare seconds before the portal closed and it would have had the same emotional impact. there was nothing added by making scott and hope (and us) think that there was no way back only to rip the rug out from under us and go "gotcha! you really thought we were gonna give this movie a sad ending? haha! you're so dumb!"

and this isn't the first time the mcu has done this. one of the biggest complaints about endgame was the decision to set it five years in the future with no consideration for how that would actually change the setting of the mcu. characters were brought back to the exact place they disappeared from with no consideration for how things might have changed in the interim five years (like planes that weren't in the air anymore, buildings no longer standing, even just something as simple as a chair being unoccupied). and then the mcu didn't even really have the courage to address how this would have shaped the world other than a few jokes and making the bad guys in the falcon and the winter soldier people who cared about how the world had screwed them over during the blip.

and things like this happen over and over and over again. the accords are put into place in civil war, but by the time we get to she-hulk, they're gone with no explanation because, as best as i can tell, the writers didn't want to have to deal with the worldbuilding that went into the accords. gamora is killed in infinity war, but heaven forbid quill not have an emotional investment in a film he appears for maybe 10 minutes in so now she's back in endgame. steve got to go live in the past with his ex-girlfriend (which is in itself a refusal to commit after the mcu both gave her a different husband and had the woman herself tell him to move on) but we need to establish that messing with timelines is bad because that's what the entire next phase hinges on so actually his ending was predestined and it's only everyone else who can't change time. whoever took this entire town and also wanda hostage and forced them to live out a sitcom fantasy is bad and needs to be stopped but wait, it's actually wanda and she can't be the bad guy yet, we need her for doctor strange 2, so actually everyone's going to defend her now and say that no one else could ever possibly understand her grief. thor has decided to accept responsibility as king of asgard, but we can't use him for any more movies if he's stuck in asgard, so actually he's decided to pass it on to someone whose entire leadership capability is developed offscreen. i could list more examples but this is making me angry, so let's move on to star wars instead.

with star wars, i look at first the oft-quoted meme, "somehow palpatine has returned." yeah, i shouldn't really need to go into detail on how that counts as a refusal to commit but. the last jedi was a study in how johnson refused to commit to anything that abrams had laid down in the force awakens, but rise of skywalker was almost like abrams had looked at the franchise and said "screw you for taking it away from me, i'm going to come up with the most bullshit stuff just to spite you for doing that in the first place. and i'm going to start by undoing the most important plot point of the first trilogy: the emperor dies." and yeah, disney's kind of tried to salvage this by dropping hints into the bad batch and the mandalorian about cloning, but that only really works if you're watching the franchise chronologically and not considering that both of those series came out after rise of skywalker.

and then there's the mandalorian, my sweet summer child, who is, in my opinion, the worst at backtracking their plot points. i'm not entirely convinced that any of the higher ups for this show really knew what they were doing when they started working on it and i'm not convinced that they know what they're doing now. yeah, there's the tie-in to the last season of clone wars, but the mandalorian has managed to walk back pretty much every single major plot point it's had. din is this legendary warrior who can't be beat, but no one will watch this show if he defeats everyone too early, so he's constantly getting beat up (tbf, sometimes some of the fights he loses makes sense like the krayt dragon and the mudhorn, but a lot of them don't. at all). moff gideon is dead, no wait no he's not, now he's imprisoned, no wait no he's not, now he's definitely dead, you can totally believe us this time guys. grogu can use the force and must be placed with the jedi, but wait, the only person still actively teaching the way of the jedi is luke and all of his students will be brutally murdered ten years from now, and we can't have that, everyone will be mad at us for killing off such a cute character and no one will buy baby yoda dolls (and also we have to set up luke's character degradation from hopeful, believes-in-love cinnamon roll to "i'm going to kill my nephew") so in between seasons let's have grogu decide to go back to din (and don't even get me started on how frustrating it is that a casual mandalorian watcher also had to watch book of boba fett to understand why grogu is back). din has the darksaber now which makes him king of mandalore, that's totally going to be important and what the entire series has been building up to, right? wrong! he might have spent the first two seasons making connections, learning about the world outside his sheltered upbringing, and demonstrating the various qualities that would make for a good leader, but the entire third season will be about din realizing that actually he's super unworthy and the darksaber should actually go to someone who... saw an animal in the water.

and it's really, really frustrating as a viewer! because how am i supposed to get invested in any of these plot decisions when they almost always get reversed? why should i care that mj and ned have forgotten peter when ant-man 3 has shown me that they'll remember him the next time they're all on screen together? why should i care that tech is dead when half of the last season of clone wars was about how echo was actually alive? if none of these decisions have any permanence, then where are the emotional stakes? why should i watch your movie if all you're going to tell me is that nothing matters?

I LOVE YOU (NOT IN A CLICHÉ WAY)

akaashi x gn!reader | a love letter from him to you! i forgot i wrote this for myself as a supposed birthday surprise so. i guess that worked out for me

the thing about clichés is that at some point, you stop feeling anything at the sight of them.

yearning, infatuation, love so tender and whole that it wrapped around someone completely and sunk deep, deep, deep into their skin and bones, into their veins where they felt it was the same as the oxygen already flowing through—i need you like i need air to breathe.

the same idea repeated over and over until the point of akaashi’s current existence—where he sits, favourite blue gel pen in hand, with at least seven crumpled pieces of paper in the bin next to his desk and the light of his lamp more of a headache than anything—until it no longer feels like enough for whatever he feels for you.

he curses every film and novel for making oxygen too little, too mundane of a comparison for how fundamental you are to his existence.

five hours. five hours he’s been sitting here, reading poetry and writing drafts and bullet points of what he wanted to say, utterly failing at writing a single coherent paragraph. but he couldn’t afford to fail, not this time. this birthday was more important than any other before—it was the first of your birthdays together as a couple.

definitely not the first together, period. keiji thinks if he didn’t meet you when he was thirteen, he’d have turned out to be someone completely different.

and after so many years, everything about you came naturally to him. it was to the point that other friends and acquaintances had come up to him before with questions about gifts for you. you already had a mug with that design, you weren’t a fan of the shirt’s texture, and you could be picky about art of that character, but he could send some of your favourite artists for reference. the person who knew you best, second to no one but you, was akaashi keiji.

he has been since you were fifteen years old.

so the fact that he’s sat here for hours, failing, is a blemish on his record.

he refuses to call it a phenomenon because that word makes it seem so grand, when in reality his situation makes him so incredibly frustrated it was more of a curse. it was an ugly, annoying, unbelievable stain on his identity and soul because for fuck’s sake, shouldn’t it be easier now as your boyfriend?

not only does he know your different laughs and the way your lips wobble while you try to hide it, now he knows how it feels when you try to stifle the noise in the crook of his neck, a smile pressed against his skin. he knows the feeling of your fingers intertwined between his while walking through the farmer’s market, and raking through his hair after he’s showered while it’s soft and fluffy the way you adore. he knows the taste of your favourite lip balm against his lips, what it sounds like when you hum or giggle as you’re pressed against his body and your arms are wrapped around his neck. he could pick you out in a line up of people blindfolded if asked, just by the way you hugged him.

it should be easier for him than anyone else, because you weren’t just his oxygen—you were part of him.

but even that was another cliché.

keiji lets his head hit the desk, hands coming up to pull at the roots of his hair while a loud groan escapes his lips.

“should i learn how to bake?” he mutters to himself before grimacing. “watch me bake a cake and give the love of my life food poisoning. incredible plan. what the hell is in a cake? what would i even put on it? awful cursive lettering?”

no one talked about the pressure that came with the first birthday in a relationship. why is this not a more pressing specific situation for newly dating people? why did no one tell him he’d feel like a heavy rock rested on his chest at the thought of disappointing you not only as a friend but as a boyfriend. he thinks he could die.

he can’t, won’t, die, but you’ll get home from your friend’s place in only a couple of hours and he’s running out of time (not really. he’s doing this a week early, but he set a schedule for himself and it’s the principle of the thing.)

“fuck it,” he murmurs. “whatever, whatever. let what happens happen, and if it’s bad i’ll just…internally die.”

resolute, keiji puts his pen to the page and starts writing before the ink can bleed.

hi.

i’ve written drafts of this too many times already. maybe i shouldn’t tell you that so it seems like i’m a natural romantic, but it probably doesn’t surprise you that i’ve crumpled up a lot of paper in the last couple of hours because i tried avoiding being too cliché. but if i’m being honest i love you so much it feels like a cliché in and of itself. so i guess i’ll just lean into it and write whatever comes to mind.

i love you. i love you. i love you. i love you.

i love waking up to you every morning. i love cooking breakfast with you. i love wearing the “kiss the chef” apron kuroo gave us so i have an excuse to ask for a kiss on the cheek, even though i know you’d kiss me without it.

i love listening to you talk about your day and seeing the photos you took with friends. i love when you send me pictures while you’re out and ask what i think about your outfit. sorry i’m bad at knowing what to say, i’m really not lying when i say i think you always look nice. i know that isn’t super helpful when you’re being indecisive, but i hope i’ve gotten better over the years? i feel like i have but if you want to disagree i guess i’ll accept since it’s your birthday.

i love when you ask if i want to go out somewhere with you. i love sending you places and things i think you’ll enjoy. i love seeing how excited you get and i love surprising you with them a few weeks later. i love seeing our gifts for each other and souvenirs around the apartment every day i come home.

i love taking care of you, even when you think i shouldn’t, when you think you’re a burden for me. i’ll do the chores when you’re tired. i’ll get in the bath with you and wash and dry you, no matter how long it takes. i’ll dress you if you ask me to, let you steal my bracelets and slippers when you want them. i’ll make sure the bed is cold but the blanket is warm so you can cuddle beside me. i love being the person you come home to, and i hope i make it worthwhile every time.

you’ve always been there to remind me you love me, even when i think you shouldn’t, that it’s impossible that you do. so i hope you know i feel the same way about you, that i’ll love you despite what your head might say, and even if the world would end because of it.

i love being with you. even after a decade together, i only love you more and more.

and i do need you like oxygen. i need you like plants need the sun. you’re my favourite person, you’re my safe place, you’re my home. you’re my better half and your own person that just happens to fit with me. you’re my soulmate and also someone i was just lucky enough to meet. you fit every possible cliché and trope i can think of. every single one is true, which makes me think maybe you’re the kind of person old poets and writers were inspired by. they’re not around though, so i hope i can be enough.

happy birthday :) i’d say i hope we only get to spend more together, but at this point you couldn’t get rid of me even if you tried. (please don’t try though i’ll cry.) so instead, i hope every birthday is as warm and bright as you. i hope you remember i’m here with you, and always will be. every midnight you get a little older, all the way until the end. as cliché as all of this might sound, i love you forever,

keiji writes your name especially careful, making sure it sits perfectly on the line and each pen stroke is clean. then he draws a little heart beside you before signing off with his own name, and letting out a deep breath. his fingers tremble a little when he finally puts the pen down.

there’s blue ink on his hand, and he thinks there might be some on his temple from forgetting to unclick his pen. but it’s a problem for nightly routine keiji to wash off, not him now.

the letter would sit in a gift bag for another week, but then it would be in your hands. it wasn’t proofread—he could have spelt his own name wrong at the end and no one would know until then. but he can’t bring himself to reread it this time. maybe because he’s tired or doesn’t want to feel cheesy, maybe so it feels more romantic, more raw. maybe because at the end of the day, whether you loved the letter so much you framed it on your bedroom wall, or you accidentally spilled water and rendered every word illegible, he’d have you anyway. and you’d have him.

and he’d just write another one, once again filled with clichés and an embarrassing amount of i love you’s, as long as you’d let him.

pleak pretend this letter really is for u. it's half of this post come onnn it's for u now. happy birthday! i love u i love u i love u i love u (4 so it isn't a cliche) mwah

to be, or not to be (romanticization of the inevitable)

Also I find it interesting that Grian is the loner desperate for friends this session but is only kept around for personal gain

Sounds similar, but I can't quite put my finger on it ...

Hmmmmm.....

[First Part] - [second]

Baby (who still has no name) is warming up to Geralt, who also starts to connect some dots. (Like, I think he suspects that he's Jaskiers son, adopted or otherwise, but he won't even humor the idea that he could be the dad.) That being said - the kid is an angry teenager sometimes. Jaskier tried all he could as a single parent and they have a very loving relationship, but I also think they do argue quite a bit, and there is some tension.

And the more he gets to learn how Geralt truly is the weirder is gets, cause. He's a good guy? And either Jaskier is petty and was too dramatic and kept him from meeting his dad for nothing, or Geralt isn't a good guy AT ALL and has hurt Jaskier really bad, and he doesn't think Geralt has it in him, but some people (and especially alphas) get really weird and archaic around omegas? And he had to witness again and again, with how little respect his unbonded, single father of a bastard child was treated - is Geralt like that too? But Jaskier still only ever talked somewhat kindly about him. And from all he saw... he trusts Geralt. He's a quiet, but witty and honorable man. But is it fair to doubt the parent that was there for him, that raised him, that sacrificed so much for him? The poor kid is so conflicted.

Peter always called Tony "Mr. Stark"

Tony always starts as "Mr. Stark" to everyone. Its the name in lights, its the symbol for genius. To most people, calling Tony "Mr. Stark" is the sign of utmost respect. They're complimenting his work. But, as time goes on, someone sees Tony mess up more and more and "Mr. Stark" becomes Tony. Because "Stark" is symbolism for genius. and Tony is just some guy, after enough fuck ups.

But Peter always calls him "Mr. Stark". To Peter, Tony never stopped symbolizing genius and perfection and all the crap associated with the Stark name. There isn't a number of times Tony can mess up that would make Peter lose the stars in his eyes.