That middle child feel when you’re the one who successfully gets you and your siblings out of trouble only to immediately get jumped by them afterwards

the sandhill cranes are back! I got to see some mating displays, which apparently involve tossing things in the air and hopping around (｡>ヮ< )

Read "Suki, Alone". Liked it in general. But can they please, please hire someone who knows both the show's actual events and how to follow through on a character arc? Because guys. Guys. That comic is not implying about Suki what they meant it to be implying, and all because of literally one line.

So like. From a writer's standpoint:

What they meant to do: show Suki as a community-oriented person who cares for her people, and believes in everyone succeeding together.

As opposed to (spoilers): the thief girl they set her up in contrast with, who's pretty upfront and consistent on primarily looking out for herself. She betrays Suki for one (1) corn chip to improve her own life at the prison, no surprise.

But the problem is: they give Suki an inspirational line to the effect of "we're all working together and we'll all break out together"

You know

The thing she does not do in the show

So if both the show and this comic are canon, then instead of setting up a compare/contrast with the thief girl, they've just set up a comparison. One were Suki is arguably worse, because she's been leading a significant number of prisoners on with her "we'll all fight and win our freedom together!" business, only to straight up cut them out of the escape loop and abandon them, whereas the thief is only leading Suki on in the sense that Suki keeps telling her what it's morally correct to think and confuses snide replies with agreement

My dudes. My fellow writers. You people actually being paid for this. There were so many ways to fix those awful implications against our girl's character, the simplest of which would be to not include that line. Or they could have, you know, made it canon compliant with what actually happens in the show, so that this comic doesn't set Suki up as a betrayer instead of a community builder. Like... just send all her good prison buddies off to other prisons in the wake of the warden finding out they're colluding. Have it timed to be right before the next new prisoners arrive, thus setting it immediately before the Boiling Rock episodes, so Suki didn't have anyone left in the prison she'd want to take with her on a breakout. For bonus points, include a page or two of her and her Kyoshi warriors opening up the cell of one of her prison friends post-war, thus implying she's tracking down and actually fulfilling her promises. Maybe even show her doing the same with thief girl, who was established as being imprisoned on false charges anyway, and also showing that Suki is A) the bigger person, and B) willing to acknowledge her own role in mistakes (because I cannot emphasize enough how much thief girl was not hiding her own priorities, and it was Suki who approached HER with all this, not the girl ever doing anything special to weasel her way in) (this would also open up an opportunity for paralleling Suki's earlier in-comic mistake of not listening to one of her friend's very valid thoughts and feeling, which lead to the girl leaving their island alone pre-canon; a "seeing people as they are, not what you want them to be" moment)

Anyway yeah enjoyable enough for a quick read but another one for the "this can't be canon or the characters are So Much Worse than they were in the actual show" pile

At least Aang didn't promise to murder anyone in this one

Johnny's ass keeps pushing Sento away from the support on his back because it's too big btw, do you think Sento knows. Is Sento aware that johnny's cheeks are constantly pushing it. And if so, do you think Sento cares at all, being a sword and all. Is that mundane for a sword. Does Sento compare whose backs or waists or butts or hands felt nicer. Does Kenshi know. Would it tell Kenshi that his hands are the most caring but Johnny's ass is the biggest.

just an appreciation post for the set itself. my GOD have they outdone themselves this time

literally burst out into elated laughter to find this is what this outfit has got going on under the coat (the details the costume designers put into this tho!!! the fucking -- rainbow lining that could very well never have been shown off on screen??? hello for god's sake hello who made you go this hard????)

Hi hello, I was struggling with my Spooktober challenge, but wanted to draw something today, so I ended up with this:

He is Very Shape, so I had to lmao (I don't draw animals much, so it was a bit tricky, but hope it came out okay!)

Also, terkkuja toiselta suomalaiselta, meikäläisiin törmää niin harvoin :D

.

Randomly thinking about “tolerate it” (narrator voice: it was not random) and how under the cloak of fiction it is ostensibly inspired by works like “Rebecca” (which Taylor said she read during the 2020 lockdowns I believe?), with the line of “you’re so much older and wiser” indicating that the speaker is significantly younger and inexperienced compared to the person she’s speaking to and a pretty direct reference to the plot of the book.

But I saw something somewhere once that stuck with me about how it might not be referring to relative age between the characters but chronological age as in the passage of time in a relationship. And that made me think about how in a contemporary context, it might not necessarily be referencing an actual age gap between the two characters, but rather a sarcastic or cynical response to the man’s claims that he has matured (“you’re so much older and wiser [than you were before/than you were when we met/etc.]”), which then made me think about that line in relation to the woman. And that it could be taken like, “you act like you’ve matured so much in our time together and like you know everything, while I’m supposedly still stuck as the girl I was when we first met.”

Which then made me think of the “right where you left me” of it all and did you ever hear about the girl who got frozen time went on for everyone else she won’t know it and the bit in Miss Americana where she talks about how celebrities get frozen at the age at which they got famous, and how she’s had to play catch up in a lot of ways not just in her emotional growth but kind of in general. (Which also made me wonder if she’s ever been called out for immaturity/lack of curiosity/lack of education about things in her life…)

Which then made me think about the rest of the song, and @taylortruther’s posts yesterday about “seven” and “Daylight” and the way Taylor idealizes her youth yet contrasts it with an almost sinister reality in its wake, and the line, “I sit by the door like I’m just a kid,” because the discussion raised that her relationship let her recapture some of the childlike joy and wonder she’d lost. So this line is a double-edged sword: the speaker sits by the door with childlike hope that the person will come home and cherish her, but on the darker side, feels like the child dealing with the monsters she doesn’t have names for yet and the feelings of isolation she felt as she aged.

I’m not saying the song is necessarily autobiographical; like most of the songs on folkmore, it’s clearly a fictionalized story based on media she’d consumed and created, but we know a lot of the fictional songs were infused with her own feelings and experiences and… This idea swirling in my head picked up steam and now I kind of can’t stop thinking about it. Sorry but I’m a little obsessed now.

Like maybe it might start to shed light on why she identified so strongly with the novel in the first place…

30 days of Harvest Moon Day 5 - vibrant / child

combined the prompts! rock’s limited edition crossover Skecher x Pleaser Discolite platforms have been repurposed as a nightlight for his son (they do nothing to get him to sleep)

thank you @psychosvr for the Cool Prompts

(based on this meme)

We carry inside us the wonders we seek outside us.

-- Rumi

(Aarau, Switzerland)

Buena Vista Style Guide, Disney's Gargoyles (1994)

Size Comparison & Color Callouts

TG: ...

TG: jesus christ

TG: look man, im like 99% sure you werent this much of an asshole before

TG: hell at least you were fuckin' talkin' then - when i said i wanted you to shut the hell up i didnt mean like this

TG: and im fairly fuckin' confident in sayin' it has something to do with the creepy fuckin' puppet hangin' off your back

TG: so

TG: should probably get rid of that thing huh

TG: hand it over

@badlydrawn-alphadave

[ God, can this asshole not leave you alone for 5 minutes? Who the fuck does he think he is? Trying to take your best friend. Nobody understands. ]

[ You politely tell him to piss off by pressing your sword to his throat. Even unable to say anything the threat is clear: If he so much as lays a finger on Cal's precious head you'll chop his off. ]

[ You're not handing him over without a fight. ]

Light having a dream that he made the trade and now has the shinigami eyes. He immediately goes to find L, only to find that the name floating above his head is indeed L. Light tries to write this single letter down in the Death Note but L does not die. Ryuk tells Light this is because Light loves him, and cannot kill L. Light considers how one might be able to kill a shinigami despite Ryuk telling him it's basically impossible because that's easier than accepting he might have feelings. He wakes up in a cold sweat and has a very bad day the rest of the day, and resolutely refuses to look at L at all.

Later when Light finds the page Rem wrote L's name on he's so beyond pissed that his first name was actually L.

Drew a little comic of Gohan and Piccolo inspired by Gohan getting a telescope for his birthday during the Cell Saga filler! (Astronomers, please don't come after me if I got any science wrong 😭🙏Ex. I know Gohan basically implies the planet is emitting light but it could also mean the suns that were probably “born” with it when it was wished there!)

Siegfried Farnon has always been a strong presence, and it’s complicated because he’s her employer, as well. It’s a lot she’s giving up. For a woman who’s in a position where she’s independent, but she’s entirely dependent on her income from that job, and that’s also where she lives, it was a big thing to offer to give all of that up and to go towards something quite unknown. (Anna Madeley)