Then, too, at sea—to use a homely but expressive phrase—you miss a man so much. A dozen men are shut up together in a little bark, upon the wide, wide sea, and for months and months see no forms and hear no voices but their own, and one is taken suddenly from among them, and they miss him at every turn. It is like losing a limb. There are no new faces or new scenes to fill up the gap. There is always an empty berth in the forecastle, and one man wanting when the small night watch is mustered. There is one less to take up the wheel, and one less to lay out with you upon the yard. You miss his form, and the sound of his voice, for habit had made them almost necessary to you, and each of your senses feels the loss.
—a sailor's diary entry, on losing a shipmate, ca. 1834 (from Two Years Before the Mast by Richard Henry Dana Jr.)
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"what are you doing," eddie mumbles in confusion, hair fanned out on steve's pillow, the moonlight streaming in giving him a hazy halo.
there's a hand on the side of his face and it's cupping his cheek, thumb stroking over his skin. it's soft, so soft, too soft. another hand is trapping his against the mattress, fingers trailing over his forearm before tangling into his own and squeezing tight. it's gentle, so gentle, too gentle.
eddie isn't soft, eddie isn't gentle. eddie isn't making love in a full size bed with wallpaper that matches the drapes. he isn't fluttering kisses in time with fluttering heartbeats and the fluttering wings of butterflies trapped in his stomach like the most lovely cage.
eddie is fucking at 2am when there's enough intoxication to make him look like he's worth it. he's rough and wild, quick and easy. a means to a barely wanted end because he's there and willing and with long enough hair to let people imagine he's someone else.
he should be caged instead of the damn butterflies. he bares his teeth and thrashes his limbs just to fight and see what he can get away with. he laughs loud and brash in the face of sweetness just to see anger, just to see hurt.
he has half a mind to think he's a feral animal that's hardly been trained, performing in some fucked up circus that charges two bucks to see him snarl and hurl insults at anyone who passes by. he bites at the hands that try to touch, try to feed, proving to the onlookers that he's only worth the pocket change they pay to see him.
but steve. he's holding his face like he wants to, holding his hand like it's the most important thing in the world. he's pressing kisses along eddie's jaw without any hurry, without any rush, kissing just to kiss. feeling just to feel. he's like a ray of goddamn sunshine even in the darkness that midnight provides, warming eddie from the inside out.
eddie wants to run. he wants to scream. he wants to feel like he's allowed steve's soft and gentle but he's-
"is this not okay?" and now steve's looking at him with all of whatever he's trying to give him lacing into his face, his eyes and spit slick lips sparkling in the moonlight like a shiny new toy. "do you not like it?"
concern and care are different sides of the same steve shaped coin and if eddie looks hard enough, he can see them blurring together in his frustratingly beautiful sparkling eyes and those damn butterflies start to come back.
"no, it's-" he let's out a sigh, relaxing his tight muscles and sinking into the bed, sinking into whatever steve is willing to give him. "just different, is all. good different, i think."
steve smiles and eddie shakily mirrors it back, before he's ducking his head again and slotting their lips together, fingers still holding tight to eddie's, still cupping his face like it's something precious.
eddie's come to terms with the taste of the metal bars of his cage, teeth wearing down as he tries to bite his way to freedom. maybe this time he'll let himself get used to the taste of soft and gentle smiles if it means loving steve.
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(random s5 finale musings) tbh I don't think Marinette chose to keep The Secrets™ from Adrien because Gabriel asked her to. I feel like Marinette keeping secrets like that is so consistent with her character; she hates giving people bad news, she hates rocking the boat, she hates upsetting people, she always chooses to keep any 'controversial' information to herself for as long as she can get away with (examples: bubbler scarf, telling Queen Bee she was benched, confessing to Adrien, warning Chat Noir about Scarabella or Rena Furtive, never told Chat Noir about Chat Blanc, etc) that I just totally believe she would've done it either way. She was even already having nightmares about Adrien hating her for finding out she defeated his father, so I feel like Gabriel's request was moreso giving her a go-ahead than it was a primary deciding factor, yknow?
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⋆。˚ Stelle x Firefly ⋆。˚
Started off as pose practice with the galactic baseballer but I wound up drawing a page with the two of them (featuring brother hanu).
I absolutely love Firefly's design! You really start to appreciate the details when you're forced to draw them;;; It's so cool how her firefly and hourglass theme works so well with her backstory and role in the story so far.
references for three of the poses
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I really like that scene in mob psycho 100 where those random guys try to bully mob, but then, before mob can even do anything, dimple makes the guy disrobe and ritsu tries to kill him and the body improvement club just kinda circles up and squishes him between their pecs until the guys beg for mercy and leave. because it's a very stupid scene. kinda the epitome of the show's goofy weird slapstick humor. and so when you're watching it the first time you assume that's the purpose of the scene--to be dumb slapstick humor. because it succeeds at that, so it would be perfectly functional if that's all it was.
but THEN it turns out that it's actually setup for two episodes later when mogami traps him in a mind dimension to try and turn him evil and he's standing in the SAME PLACE and he sees ritsu on the bridge but ritsu doesn't acknowledge him. and he gets bullied. and not only is he powerless to defend himself, he has no one who cares. the scene plays out an evil mirrored version of itself where it's straightforward. it's harsh. it's empty. mob gets beaten up, and he is alone.
and that would've been a good scene on its own, too. but to me the fact that you see the silly ridiculous version of it FIRST (the one that culminates in the body improvement club suffocating a guy with their man boobs) is really important to me. because then, later, you feel how much more it hurts for mob to be alone when you've already seen what it could be, what it is. and then on a rewatch when you see the goofy version of the scene you can't help but feel an undercurrent of dread and a sense of how dangerously close the absurd is to tipping over into something way too real and visceral. which is a feeling that runs throughout the entire show.
anyway.
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