Hello!

Can you please make a part 3 for "Ties the blind"

Story? I really liked it and hope for another part

Unfortunately, I cannot write a request for someone who can’t read😔

> FERDINAND II.

And so your PLANT shall henceforth be known as FERDINAND II.

The thought of needing to inform FERDINAND I of his having a namesake makes you a bit ill, but you are already hard at work devising several plausible excuses for the gesture. Something about how you've named it after the one most invested in its naming, or how it is similarly prone to drooling. Yes. Yes, you will be able to deflect quite easily, should the need arise. It has nothing to do with your fondness for FERDINAND or your desire for a substitute in his imminent absence, no—again, you are not so prone to sentimentality. It's about the drool.

Well, anyway. Best to move on with your day and think about something else, lest you grow maudlin or cultivate further affection for the PLANT. May the GODDESS be merciful and never cause you to develop inclinations that could be described as paternal.

Now that your plant has received sufficient care, it is time for COFFEE. You set to making your morning brew. By CHANCE, there happens to be sufficient water remaining in the kettle for FERDINAND I to have TEA, should he wish it.

Per your TIMEPIECE, it is now a quarter to eight. You have made excellent progress on your PRE-BREAKFAST TO-DO LIST thus far: the only remaining task is to remove FERDINAND. You are starting to get rather peckish and would like to be rid of him quickly, but over the past week, you have found that extracting the man from YOUR QUARTERS is a more arduous task than it ought to be.

#007 | < | > | JOURNAL | HOW TO PLAY | SEE ALL POSTS

i deserve financial compensation for the amount of fucking hoops i had to jump through to enable tipping on here

quick fic for the immortal rose girlies 🥰

Please. Please. For the love of god, tag your fics correctly. I don't care if you don't think it's a big enough piece of the fic, you have to tag it. PLEASE.

save me mona-chan

🌸🦖🌿?

-🌸

🌸 Best compliment you ever received?

I feel like it had to be something about my personality. Personality compliments are always top tier for me and then singing compliments are probably next 🩷

🦖 Favorite extinct animal?

Dinosaurs???? I’m sorry I’m awful lol

🌿 Describe your favorite outfit.

Right now I don’t think I have a *favorite* outfit. My go to outfit when I want to look cute is usually a skirt and a top that is either a crop top or I crop myself 😂

idk what is it about that one throwaway line from han sooyoung about her writing 10 chapters in one day that finally broke me but oh my fuckin god i love her so much

Track 4 from the US Promo-only Cave EP that was sent to press and radio in the US and Canada in 1999/early 2000. Coma is listed on the track listing as a "previously unreleased B-side" at this point in time.

[ID: The title panel for 'The Bat-man' and 'The Case of the Chemical Syndicate'. In it, a mysterious silhouette is standing on a rooftop as they look out at the skyscrapers in the background. The silhouette has giant wings that resembles a bat! They flare out on each side of the figure as their human-esque legs and head stick out from it. The sky is light blue as the narration explains: The "Bat-man", a mysterious and adventurous figure fighting for righteousness and apprehending the wrongdoer, in his lone battle against the evil forces of society… His identity remains unknown. END ID]

detective comics #27 | (#627 reprint)

(full comic & ID below cut!)

[ID:

We see a young man sitting in a blue chair and smoking a pipe as an older man sits across from him. The narration reads: The home of Commissioner Gordon, who at the moment is entertaining his young socialite friend, Bruce Wayne. — Bruce is wearing an amber, windowpane checked suit and has his black hair neatly combed back. Gordon, the older man with silver hair and glasses, wears a white suit with black lines forming a herringbone pattern across it. Bruce has his chin resting against his palm in boredom as he asks, "Well, commissioner, anything exciting happening these days?" Gordon responds, "No-o – except this fellow they call the 'Bat-man' puzzles me!" He's interrupted by his phone ringing.

Gordon talks into the phone, "Hello… What's that? Lambert, The Chemical King… Stabbed to death? His son's finger prints on the knife? – I'll be right over!" He hangs up the phone and tells Bruce, "Talk about something exciting… Old Lambert has been murdered at his mansion… I'm going there now. Like to come along?" Bruce nonchalantly says, "Oh well, nothing else to do, might as well." They speed off to Lambert's residence, where they greet the police sergeant. He leads them to the scene of the crime and after a thorough examination, Gordon begins to talk to the murder suspect: 'Young' Lambert, who's already insisting that he wasn't the one that killed his father!

Gordon orders the distressed man to calm down and explain what happened. Young Lambert wipes at his forehead nervously as he reluctantly elucidates, "Well sir… Tonight I came home early, and as I was passing the library I heard a groan... I rushed in and there was my father lying on the floor, with a knife in him! … And as I rushed in, I got the impression of something leaping out of the window… I also noticed that father's safe was opened… I pulled the knife out of my father's body, and turned him toward me just in time to hear him say 'contract'... And then he died. That's how I got my fingerprints on the knife… That's the truth, commissioner!" Two panels accompany Young Lambert's words. It shows him finding his father's body by the open window before cradling his father close to him. 'Old' Lambert vaguely warns his son about the contract before dying in his arms.

Gordon raises his hand to his chin in thought before asking, "Hmm! Did your dad have any enemies or people who had an interest in his business activities?" The man hesitantly answers, "... not that I know of, except his three former business partners... Let's see, they were Steven Crane, Paul Rogers and Alfred Stryker." Before Gordon can continue to question him, he's interrupted by another cop. He's alerted, "Commissioner, there's a man named Steve Crane who wants to speak to Old Lambert... When I told him that Old Lambert was murdered he got very excited and wanted to speak to you!"

Gordon takes the phone and asks what's the trouble. Crane hastily explains, "Yesterday, Mr. Lambert called and told me he received an anonymous threat on his life... today I received the same... That's why I called up... and I'm afraid I'll be next... what shall I do?" Gordon orders, "Wait… And do not let anybody in… We'll be over soon as we can – what's that, Bruce?" He hangs up as Bruce Wayne's actions distract him. Bruce – who's been silently observing this whole time – smacks his tobacco pipe against his open palm, dumping the ashes onto the floor of the crime scene. He apathetically announces, "Ho hum! I'll leave you here to finish your work… I'm going home."

Meanwhile, Crane sits in his home library with a feeling of impending danger as he waits… Before a gunman suddenly breaks in! He shoots Crane dead without hesitation before stealing a paper from his safe and leaving through the window! He joins his partner on the roof, who checks if the murderer got the paper. The narration reads: ... As the two men leer over their conquest, they do not notice a third menacing figure standing behind them… It is the "Bat-Man!" — The cowardly criminals recoil in shock at the masked man. He wears a cowl that conceals the top half of his face and has bat like ears sticking out. His arms are crossed as he broadly stands with his legs spread. On his chest is a bat emblem and he has a big, dramatic cape draped from his shoulders that flare out – it too resembling a bat.

But suddenly the Bat-Man punches the accompanying partner, knocking him unconscious! He grabs the murderer in a headlock and with a mighty heave, he sends the burly criminal flying through the air and off the roof! Commissioner Gordon and his men are just arriving at the scene – the commissioner announcing it's the Bat-Man and to 'get him', prompting the other cops to start firing at the mysterious stranger! The Bat-Man flees from the scene at once, but not before quickly snatching the paper the criminals stole from Crane's safe!

He escapes to his red sedan and reads the paper he took from the killers before a grim smile stretches across his lips. He speeds off to an unknown destination! During which, the butler informs Gordon and his men that Crane has been murdered. Gordon tells another cop, "That's two dead partners out of the four that received threatening notes. The other two must have received them too… Let's go to Rogers next!"

Meanwhile Rogers, who has learned of Lambert's death by news broadcast, has already gone to the neighboring laboratory of his erstwhile partner, Alfred Stryker… — Rogers greets Stryker's assistant, Jennings. Jennings invites the distraught man inside before clubbing him in the head and tying him up in the laboratory's basement! Jennings schemes to himself, "Heh! Heh! One more out of the way – soon I'll control everything!"

Rogers wakes to find himself in a trap and calls Jennings a fiend! Jennings laughs again as he taunts, "This is the gas-chamber I use to kill guinea pigs, to experiment with – but now you are my guinea pig! When the glass lid covers you entirely, gas will come through the jet and kill you! I'm going down now to turn the gas on… Sleep well!" he leaves with one last giggle and with a pull of the brake to cause the glass chamber to start to descend!

But at that very moment, the Bat-Man jumps through an open transom! He seizes a wrench from a table and leaps for the gas-chamber, barely managing to get inside before it seals itself against the floor! Swiftly, the Bat-Man plugs the gas jet with a handkerchief. He unties Rogers and with a powerful swing, he uses the wrench to break the glass!

Jennings returns and is startled at seeing the Bat-Man! He reaches for his gun but the masked vigilante 'greets' him with a flying tackle and punch, knocking the murderous assistant unconscious!

Meanwhile, Stryker has heard the crash of the gas-chamber being broken. He enters the laboratory and finds Rogers and his assistant, failing to notice the Bat-Man has secluded himself in the shadows. Rogers exclaims that Stryker's assistant tried to kill him! Stryker responds, "So he didn't get you after all… Well, I'll finish you and then throw your body in the acid tank below." He pulls a knife and goes to attack Rogers before the Bat-Man springs into action!

He grabs Stryker's hand harshly, forcing him to drop the knife in shock! Rogers asks the masked man why did Stryker try to kill him as the Bat-Man holds the would-be murderer by his collar to prevent his escape. He explains, "This rat was behind the murders! You see, I learned that you, Lambert, Crane, and Stryker were once partners in the Apex Chemical Corporation. Stryker, who wished to be sole owner, but having no ready cash made secret contracts with you, to pay a certain sum of money each year until he owned the business. He figured by killing you and stealing the contracts, he wouldn't have to pay this money."

Rogers can't help but to admire, "Hmm, a very clever scheme, and being the contracts were a strict secret between the four of us, our heirs or the outside world wouldn't know a thing about them… But how did you know all this?" The Bat-Man pulls a rolled up piece of paper out of nowhere before simply stating, "I secured this contract from one of his hired killers."

Suddenly, Stryker, with the strength of a madman, tears himself free from the grasp of the Bat-Man… — He shoves himself away in an attempted escape but the Bat-Man knocks him off-balance with a right hook punch to the man's face! He stumbles backwards and crashes through the flimsy railing, falling into the tank of acid. Bat-Man solemnly remarks that it's 'a fitting ending for his kind'. Rogers turns to the mysterious man, starting to ask how could he ever thank him, but the Bat-Man is already fleeing by the skylight window.

The next day, young Bruce Wayne is again a visitor at the commissioner's house… Who has just finished telling Bruce the latest exploits of the "Bat-Man". — Bruce is skeptical of the story, telling Gordon, "Hmm! A very lovely fairy-tale, commissioner, indeed." After Bruce departs, the commissioner mumbles to himself, "Bruce Wayne is a nice young chap – but he certainly must lead a boring life… Seems disinterested in everything."

Bruce returns to his home and goes to his bedroom. A short while later, the door slowly opens, revealing to us Bruce Wayne's greatest secret and something that would surely amaze all… That he himself is the Bat-Man!

END ID]

Poll about creating characters for a game really has me thinking about my methods because while I don't usually situate a character in the world/create a full backstory beforehand I feel like I need such a strong sense of who a character is, how they behave, and at least the skeleton of why they behave like that that I usually get bored and feel like I'm playing some flat nothing when I don't have that. I guess that isn't the same as having a fully rigid concept, especially since I'm happy to change things radically in conversation with a game when it's going well, but it's still enough of a distinct Guy Who Already Exists In My Brain I couldn't call it a loose concept. And usually when things go well for my looser concept characters and I develop them during a playthrough I just hit a point partway through where it's like... cool! I have completed the concept for this character now, I can stop playing and relocate them to a Real Story. They almost never feel like they fit right until they're in something where they're starting from that state, haha. I'm like this with tabletop stuff as well. I'm not always the ten page backstory guy but if I'm not at least coming in with some needlessly complex portrait of personality the character is not going to stick for more than a oneshot. Just doesn't interest me to play! I don't feel like I'm seeing through their eyes yet. Can't get in the right zone mentally. I think that's what it's really about for me- a loose concept is rarely immersive, and without that immersion I just struggle to feel like the actions are coming from the character instead of me and come together into a cohesive story about the character (rather than one about me pushing buttons).

Some days I really hate my brain. I miss the most obvious things and do things in roundabout ways that seem ridiculous to anyone else because there's many simpler solutions/more logical conclusions that people reach that I just can't see until they're pointed out to me. Rendering all my effort a complete waste of time. You don't know what you don't know and all that, but when everyone else knows these things easily, I can't help but feel foolish, incompetent and straight up dumb.

He’s autistic your honor

love my digital art class but god it is filling me with rage and hatred for adobe.

just figured out how to permenantly remove tumblr live from the desktop site with ublock origin. basically, click on its icon then click the eyedropper icon. after that, select the element you wanna block, press create and BAM. its gone forever.

I'm still really upset about that post [AL] I wrote on educators telling students' parents about their dysphoria or transgender identity because this topic is really only a small part of a greater framework of how "parental rights" harm youth.

If abuse is most likely to be perpetrated by immediate family members, especially parents, that means that, speaking strictly statistically, parents are the least safe people to tell about a child's mental health struggles because they are most likely to use them to abuse them. Factor in that many youth who develop a mental illness in the first place have faced abuse at some point in their lives—and many are subsequently abused, mistreated, or neglected after said mental illness develops—and this becomes even more dire because the root of these teens' mental illness and the unhealthy behaviours which arise from them is significantly likely to have grown from the hands who feed them. "Mental illness is a product and reflection of our environment" is not only what so many of us espouse and incorporate into our belief systems but is also a relative, observable fact.

And yet, in response to teens who are struggling as a result, we operate as if this is completely untrue. And it's not only apparent in this aforementioned debate; it is apparent in this entire culture of conditional confidentiality wherein everything a minor shares with a psychologist or therapist or social worker is "just between us" but as soon as the teenager crosses a line, takes a step too far, expresses symptoms or develops coping mechanisms that are a little too close for comfort (or respectable politics), all of a sudden, it is no longer the professional's job to help and support the teenager but the parents' right to know about the teenager's struggles because it is the parents' job to keep them safe, always assuming but almost never confirming that the parents ever actually cared about what a parent "should" do. There is never consideration that the parents are the reason why the teenager is unwell, why the teenager is unsafe to themselves in the first place, and that telling the parents about the teenager's mental state could do even more harm than whatever harm the teenager is posing to themselves at the time.

And this is something that the most vulnerable are often most painfully aware of. I saw several therapists over the course of my teenhood and none of them had any idea why I was in therapy because I never talked about anything that I actually needed to talk about. I couldn't have. My confessions would have entailed a lawful breach of confidentiality to the very people who had fucked me up in the first place. This implement to supposedly "keep me safe" only ever ensured that I stayed silent. Silence was literally my only safe option—and unhealthy, unsafe communities, for most of my life, the only places I could confide in because the only ones who did not just parrot an empty "Talk to your parents or another adult you trust!" were other abused and mentally ill teens who needed just as much help as I did, yet were failed just as much as I was.

This is why I find it so gobsmacking when "mental health advocates" center openness with parents, or (in this case) when gender-criticals claim they want to protect dysphoric youth whilst also blindly advocating for parental inclusion in every nitty gritty detail of the child's mental health experience, or even when therapists claim to be creating a "safe space" for teenagers at all, period—because how can a space or a person be "safe" when we actively cater to the wishes of potentially unsafe people? When we are legally mandated, some of us, to do so? The message being communicated in this practice and belief system is, "You have the right to discretion until you are too mentally ill"—and if a mentally ill person feels like they have to toe a fine line, walk on eggshells, dumb down their feelings or experiences just so that whistles aren't blown to their abusers, the practice and belief system is set up for the abuser to benefit, whether deliberately or incidentally.

People cannot heal when they cannot even feel, or express what they are feeling, freely. By pushing for the rights of the parent to be considered above all else, we create an environment where youth cannot do any of this. We cannot claim to be supporting (or even caring about) this population at all when we play a direct role in why they are so vulnerable in the first place. Abuse victims—and especially abused youth—are way too often redirected back to their abuse by the very people who are supposed to help them grow from it under this idea that parents have an innate right of disclosure just by virtue of being a parent.