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#possibly-procrastinating
isjasz · 3 months
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Remember, there is always a great big beautiful tomorrow.
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nocek · 8 months
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the fluffiest part of the movie and sure maybe Meows Morales wasn't there but I love him too much not to draw him :3
below the cut the whole spread page
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opens-up-4-nobody · 1 year
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:-P
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miiukkaa · 8 months
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the little gremlin (me) drew a layout of the subway lair's kitchen
first of all, thanks to everyone who have sent suggestions/questions related to the kitchen in my asks! if i didn't reply back to you, know that i just wanted to hoard your ask and ponder on it and will now answer to you in the following rambles :)
giving you an easy-to-access-link to the subway lair you may or may not have seen.
on the layout, i wrote down in all caps the places where the stairs from the kitchen lead to. the arrows indicate if the stairs lead up or down.
much like in the sewers, the kitchen has lots of tabletops and cabinets that may not fill the space perfectly. some of them are mismatched (the boxes that are outside of the room in the layout are wall cabinets by the way!)
the "OPEN 24 HOURS" neon sign is from the old kitchen.
the rack is for holding both pots and kettles and dry foods probably.
i wasn't too sure if to copy the kitchen island from the sewer kitchen! i just ended up just drawing a simple table basically... the sewer kitchen's island came with a pot rack which i think would be cool to bring back!! (me not drawing the pot rack for the illustration was like 90% me being intimidated by how to draw it, oughh).
fairy lights surround the entire room, yep.
i ended up not adding a dining area to the kitchen for a few reasons:
-the sewers didn't have a dining area within the kitchen... nor anywhere for that matter (at least we didn't get to see one)
-there are seats and tables in the lobby which is a short walk away. methinks that's where they sit down to eat instead.
-it felt too "normal" to add a dining table with proper chairs and everything as the idea itself felt out of place... the way i see it, the family is all about mismatches which can be seen in the backgrounds a lot (and the story itself). so i definitely favor messy and unconventional ways over perfect aesthetics and other norms when it comes to the family :)
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marlynnofmany · 5 months
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Happy NaNoWriMo!
May your words be plentiful and any errors be next month's problem!
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puppyeared · 9 months
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Totk <3
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m1d-45 · 1 year
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You know, I've been thinking. The stars in our world often look quite dim, especially in areas where there is light pollution. Suddenly, I'm imagining that in the Imposter!AU, the Creator looks at the stars at night, captivated by their brilliance. Perhaps Scaramouche or Mona (Whichever you prefer, you may also just write another character you think fits this scenario :D) find them. The Creator looks at them, then back at the stars.
"They're very lovely, you know? The stars never shine this brightly back home. It's a lovely sight..."
They smile. "I'm happy that I'm able to see them, even if it's in another world. I appreciate you letting me look at them before I die."
Perhaps the character takes pause... And sits next to them.
It's a lovely night.
in the stars
word count: ~1k
-> warnings: violence, blood, both of those in your future so technically you’re not hurt yet, not written for mona mains, sorry, didn’t work with the plot :/ also diona/klee/qiqi/nahida/sayu mains are on thin ice with this one. questionable plot. barely edited.
-> lowercase intended
taglist: @samarill || @thenyxsky || @valeriele3 || @shizunxie
< masterlist >
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the stars never lie.
mona clutches her catalyst to her chest, wide eyes turned to the sky. she whispers to them, hoping they’ll change, shift into something she’ll understand, anything.
they don’t.
her head lowers, inspecting the book. thrilling tales, the spine reads, the cover a simplified dragon with a sword through it. she tries to read into it, to try and pick apart the motives behind the weapon, but all it returns is a simple needlepoint.
a compass. one she’d followed ever since she caved into the pull on her catalyst, one she’d followed out of the city at dusk and into the plains, hiking up starsnatch cliff at its behest. her twin tails had lost some of their curl on the journey, her hat flopping sadly. it was late, later than she’d normally be awake, and she stumbled once on a rock before quickly catching herself, checking to make sure you hadn’t moved.
you, sat at the peak of the cliff. you, surrounded by cecelias, face turned to the stars. you, who turned at her short cry.
“are you alright?”
she couldn’t bring her hands to shift her catalyst into its attack position. her hands, free from their usual gloves, dug into the cover of the book, shaking both with the chill of night and with… she couldn’t tell, couldn’t pin whether it was fear or nervousness, or something else that blurred the line between panic and excitement.
“just fine, thank you.”
her voice was harsher than it should have been. she could tell you were being genuine, the way the water in the air shaped around you like it wanted to cling made that clear enough, the stars shining down on you as if you were the only being on the planet.
the stars never lie. so why were they saying you meant no harm?
you turned back to the stars, your hands shifting back to weave into the grass between the cecelias.
"they’re very lovely tonight. the stars, i mean. they never shine this brightly back home….” against her better judgement, mona glanced up. the sky was particularly clear, constellations shining down unhindered. “it’s a beautiful sight.”
orders from the knights echoed in mona’s head, orders extended from a god she’d never met. she knew the knights wholeheartedly meant what they said, truly believing the words they were told, but you…
hesitantly, she brought her hand in a circle in front of her, scrying for your constellation. you didn’t have one, unsurprisingly, and she relaxed slightly in the knowledge that you didn’t have a vision.. still, there was something strange about the empty space where yours would have been. swapping the sigils and rotating the outer edge, mona decided to read your future.
all the air was sucked from her lungs, the images depicted in the water making her mouth dry. the water warped and bubbled a dark color, as if it itself hated to show what it did.
you were on your knees, tight steel chains wrapped around you and latched onto hooks in whatever you were sitting on. in front of you stood the favored, the creator’s most prized, their weapon drawn. their form was taught with anger, nearly seething. it was strange, so uncharacteristic that it froze the astrologist in place for a moment.
no matter how fiery the disposition, vessels of yours were calmer after being wished upon, heart stiller for being by your side. they, the most prominent on your team of them all, should be at most handling such a severe situation with a tick in their jaw and quiet fury in their eyes, not…
she watched with sick horror as the favored attacks once, your chest caving once, twice with hitched attempts at breathing before you slumped over, blood trickling from your neck. the favored stepped back, weapon dismissed, and mona closed the illusion before it played any further. she hadn’t meant to look all the way to your death, only a few-
…only a few hours.
her hands shake where they’re still clasped in front of her, the remains of her scrying circle swirling in her palms. you didn’t even have a day.
she let the water fall, sending it towards the cecelias around you, willing them to stand brighter as she approached. she couldn’t bring herself to summon her catalyst, not now that she knew what your fate held.
the grass was damp beneath her, seeping slightly into her nightclothes. you didn’t say anything, simply passing her a flower that you had been twirling in your palms. she willed it to heal, restored the color to its petals and the strength to its stem, then passed it back. she had no use for it, not when you…
you chuckled as you took it, staring down at it for a moment before turning skyward once more. mona followed your eyes up, spotting a well known constellation directly above you. nearly perfectly straight up, glowing like a beacon, was the constellation of the favored, six stars making themselves prominent against the dotted sea of night.
“beautiful, isn’t it?”
she swallowed, eyes flicking down to you. you were still watching the stars, probably tracing the shape of the constellation above you. unknowing of what it spelled for your fate, unknowing of the warning written above you.
mona settled into the grass a little more, taking her hat off her head so it wouldn’t fall when she looked up again.
“indeed, it is.”
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steelthroat · 3 months
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Ok, ok, ok- hear me out! The main trine of Seekers, but they're outliers and absolutely overpowered.
So, Starscream is immortal as usual. I mean it, he just cannot die. No matter how hard everyone (or himself) tries, he just doesn't die... or at least his Spark, and when I have the time, I'll elaborate and give him complications because yeah.
Thundercracker can control electricity, idk how idk why, but I need him to have a cooler power than just idk sonic booms. Let him live to his name. When there's a battle and there's a storm, I want him to be fkn overpowered. "Isn't it too much?" NO??? Just take a look at Trailbreaker or MEGATRON??? You can't stop me from giving my Boi cooler powers. Obviously, complications- but not now, now I need him to be cool and smile for the camera.
Now... now this one will sound crazy but! Skywarp. So, he can warp himself, now imagine him warping himself super fast at close distance. Not just fast, super fast, like for a VERY short amount of time it almost looks as if he cloned himself. Do you see where this is going? He can't do it for more than a few seconds or he's dead lol.
Now imagine you're a simple autobot on the battlefield, it starts raining, I mean like- a lor, very bad weather okay? Now you hear three jet-engines, and the sky is lit up by thunders.
Now you raise your head up to the sky and here they are. They're even worse than the tales that surround them. Thundercracker is redirecting thunders everywhere on the battlefield, Starscream is on a killing rampage and nothing is stopping him and then Skywarp starts diving towards you and suddenly there are like... 5 of them who shoot in your direction before becoming one once again.
You're fucked. You're all absolutely fucked.
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lividjungle · 7 months
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?Hi
character uses it/its - reblogs > likes
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ourfag · 4 months
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i think part of the resistance i’ve seen in response to the view of ed as an abuse victim—not just the view of izzy as someone who abused ed, but of ed as someone who was abused by him, as opposed to interpretations that pursue an image of Nuance and Complexity (unnecessarily, because their dynamic has heaps of both, but there seems to be a popular impulse to conflate complexity with shared culpability) by characterizing their relationship as being toxic/unhealthy in equal reciprocity, or as “mutually abusive” (oxymoron)—i definitely see the influence of racism there, but i think the racism is also working to amplify an adjacent issue where we tend to receive very specific cultural messaging about What An Abuse Victim Looks Like, and ed is excluded from a lot of that criteria.
he’s outspoken. he’s boisterous. he’s Very Cool and he Wears Leather. he’s physically bigger and browner than the person mistreating him. he spends the first season with a big grey beard, he’s covered in tattoos, he projects the image of A Man’s Man, to say nothing of his being a man in the first place. we see him get aggressive and we see him get angry (and sometimes we even see both at the same time). we see moments where he’s surly, prickly, insensitive, arrogant. his survival techniques and trauma responses incur collateral damage to other people, and in the second season this extends into affecting people we actually sympathize with. he’s extremely private about expressing fear. without examination, his professional relationship to izzy seems to position him as the one with the power slanted in his favor.
most damningly, we see him react multiple times to izzy’s abuse with physical violence. this is behavior that gets referenced all the time in the construction of narratives condemning subjects of physical abuse, let alone emotional abuse. which is why writing that intends for its audience to interpret a character as being unambiguously A Victim Of Abuse will often, for simplicity’s sake, avoid showing the character regularly engaging in anything of the kind.
and again, all of these departures from the image of The Model Victim are compounded by his being a man of color.
without any of the shorthand designed to point a big flashing arrow at his mistreatment, all we have left to work with are the words and actions we see from ed and izzy onscreen. who instigates conflict, and how does the other respond? how are they able or allowed to respond? how do we see them speak about each other to outside parties? does one go out of their way to control or isolate the other? what consequences does either party stand to face in saying “no” to the other? in acting against the other��s wishes? in trying to leave the relationship? when either of them attempts these things, how do we see the other respond?
i realize and appreciate what people are driving at when they garnish their analysis with disclaimers that they’re not saying ed’s just a poor innocent abuse victim, they’re not saying he’s a perfect angel who’s never done anything wrong, and that’s true, but these are points already contained implicitly in statements like “this show’s protagonists act like human people” and “ed’s emotional struggles are portrayed in a realistic and believable way.” my assumption is that these disclaimers are anticipatory responses to worst-faith interpretations of any discussion that attributes any victim status to ed whatsoever, so i definitely sympathize with their inclusion, but a (very small) part of me still worries about them potentially reflecting or reinforcing a belief that there is any way for someone to behave towards their abuser that imparts a responsibility for them to make right whatever damage the abuser receives, or for that matter any degree of ambiguity over their status as an abuse victim in the first place.
part of what i find so gratifying about ed as a character is that i don’t feel like the show’s writing is pressuring me to consider that ambiguity at all. which was a really nice thing for me to discover!
and tbh—did using ed to deconstruct The Model Victim even factor into the writers’ agenda?? ive got no clue. im guessing no? ??maybe?? probably not?? but if you create a main character whose central premise is that he feels trapped in a performance of exaggerated masculinity that he’s desperate to escape, and then you set him up with a character premised on embodying a tangible obstacle against that escape, then i guess that’s the natural shape your story’s gonna be inclined to take
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fearandhatred · 4 days
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if i had all the time in the world i would filter all good omens ao3 fics by kudos and start from the back
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weregonnabecoolbeans · 2 months
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It's unfortunate that since Ahsoka existed exclusively in animation for so long...
a place where what she was able to do really had no limits...
no matter what..her live-action appearances are gonna feel like a step down
they could have the greatest stunt team in the world but the fact is no human being can move like this fictional animated alien
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doodlingbot · 2 years
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Stanley picked up the bucket and held it tightly to his chest.
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peachcitt · 10 months
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HAPPY LADRIEN JUNE EVERYBODY‼️‼️🎉🎉
this year, i am once again making everyone deal with my extreme self indulgence. wouldn’t be a @ladrienjune without it<3
read the first chapter of my daily updated fic here
see y’all tomorrow!!
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gum-iie · 7 months
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wip
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Les Mis adaptations and apolitical appropriation
I think it's no secret on this blog that I love the original Les Mis 1980 concept album in French, and that I also love comparing different versions of the stage musical. I've noticed that Les Mis seems to get progressively more vaguely apolitical as time goes on, not only in the way it's viewed in our culture, but in the actual text as well.
It's natural for specifics to be lost in adaptation. It's easier to get people to care about 'the people vs. the king' in a relatively short musical rather than actually facing the audience with the absolute mess that were 19th century french politics (monarchist orleanists vs monarchist legitimists vs imperialist vs bonapartist democrats vs every flavour of republican imaginable). Still, I feel that as time goes on, as more revivals and adaptations of the stage musical come out, the more watered down its politics become. Like, Les Mis at it's core is just meant to be a fancily written, drawn out political essay, right?
In a way I feel that the 1980 concept album almost tried to modernise it with its symbols of progress. Yes, through Enjolras' infamous disco segment (and other similar allusions to the ideals of social change), but perhaps most interestingly to me, through one short line that threw me off when I first heard it, because it seems so insignificant, but might actually be the most explicitly leftist line of all of Les Mis.
"Son coeur vibrait à gauche et il le proclama" (roughly "His heart beat to the left and he proclaimed it" i.e: he was a leftist) Feuilly says, while speaking of the now dead général Lamarque in Les Amis de L'ABC.
What's that? An actual mention of leftism??? in MY vaguely progressive yet apolitical musical??? More seriously, this mention of leftism, clashing with the rest of the musical due to it's seeming anachronism, is interesting not because it's actually more political than anything else in Les Mis, rather, because it's not scared to explicitly name what it's trying to do.
But we've come a long way from the Concept Album days, it's been 43 years, and Les Misérables is now one of the most famous and beloved musicals in the entire world. It's been revived and reimagined and adapted in a million ways, in different mediums, in different languages and countries, and it's clear that it's changed along with it's audience.
On top of pointing out a cool line in my favourite version of the musical, I wanted to write this post to reflect on the perception of the political message of this work. We as a Les Mis fandom on Tumblr are very political, I don't need to tell you that, however, I feel that because this very left leaning space has sprung out of a work we all love so much, we oftentimes forget to revisit it from a more objective point of view.
Les Misérables has a history of being misrepresented, this has been true since it's publication, since american confederate soldiers became entranced with their censored translation Lee's Miserables. However, with it's musical adaptation, this misinterpretation has been made not only more accessible but also easier. As much as I love musical theatre and I think it is at it's best an incredible art form able to communicate complex themes visulally by the masses for the masses, I think it'd be idealistic to ignore the fact that the people who can afford to go see musicals regularly are, usually, not the common folk. Broadway and the West End are industries which, like most, need money to keep them afloat, and are loved people of all political backgrounds (and unfortunately, often older conservatives) not just communists on tumblr. We've seen the way Les Miz UK's social media team constantly misses the mark regarding different social issues, and the way Cameron Makintosh has used the musical to propagate his transphobia, and most of us can agree that these actions are in complete antithesis with the message of Les Misérables as a novel.
But I must ask, how does Les Mis ,as a West End musical in it's current form, actually drive a leftist message, and how are we as a community helping if every time someone relating to the musical messes up if we just claim they "don't get it"?
I'm thinking in particular of incidents like last october, where Just Stop Oil crashed Les Mis at the West End. Whether you think it's good activism or not is not the question I think, this instance is interesting particularly because it shows that, outside of Les Misérables analysis circles and fandom spaces, it is not recognised as an inherently leftist, political or activist work, and instead of just saying they completely missed the point of the musical, I think it'd be interesting to take a step back and look at what the musical as it stands actually represents in our culture today.
I don't pretend to have all the answers, so I won't try to give one, but I do hope we can reflect on this a bit.
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