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#regardless i carry on...
martyrbat · 3 months
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my secret confession is i think a lot of current art in comics is pretty but sometimes way too glossy and lifeless... it kinda feels like a sticker sheet where they just swap out generic stock poses that they have on hand for that character rather than the art being reflective of the actual story and moment the character is currently in
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emry-stars-art · 7 months
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I don’t think I fully realized how funny the word ‘toddler’ is until I’m coming up with a mer equivalent. Baby mers don’t toddle. They probably like… wobble. Little wobbler sharkyards. Just babies
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chalkscrub · 2 months
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got the timings wrong and didn't manage to finish or submit this flygon in time for the pokemon card illustration contest - SAD!! oh well there's other entries
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mymp3 · 2 years
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Runaway Thought Process
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wasteofpain · 3 months
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although i still think no kiss was the best route for their relationship because it drives the unsatisfaction oliver feels as deep as possible, if there was to be a kiss i keep imagining it like this:
in the maze, oliver has just told felix he loves him, who responds with "i don't know what you are. but i do know you make my fucking blood run cold" and depite his fear and disgust he still can't stop himself from looking at oliver's lips, slightly leaning in but being startled back by oliver shaking him.
they stare at each other for what feels like hours until oliver dares to lean closer, felix tries to keep him away by holding him in place but oliver is stronger than he looks. when felix turns his face to the side oliver rubs his lips on the side of his face, similarly to how he did in the bathtub.
oliver slowly inches closer to felix's lips until they touch and at first its barely a kiss, it's just rubbing his lips against felix's.
felix has his eyes open, watching oliver's every movement, not sure of what emotion out of the several contradicting ones he's feeling right he should follow to decide what to do next.
oliver's lips are very delicate in comparison to the hands holding felix in place. grazing their lips together, eyebrows tightly nit together, he starts kissing very slowly and with very little response from the other.
he pulls at felix's bottom lip, holding it between his teeth, trying his best not to bite as hard as he can.
losing some control, oliver starts kissing less gently, making out passionately with very little care for the lack of response from felix.
when felix kisses back he loses himself just as much as oliver, more chaoticly than any other time in his life. it becomes barely a kiss, more like they're trying to consume each other.
they hold each other so tightly it'll definetly leave marks and they devour each other like this is the first drop of water after a lifetime of thirst. it feels like nothing they do will be enough to satisfy them, like the only think that could relieve this desperation would be to bite hard into each other's skin, to taste flesh and blood. to feel skin rip when met with unwavering teeth.
when oliver can no longer hold back he bites into felix's lip and the pain startles him away, pushing oliver back. all the disgust he forgot about now coming back with full force, but mostly towards himself this time.
they part ways like they did in the movie but in this universe oliver knows what felix's blood tastes like.
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mag200 · 10 months
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something about the way misty says "if you save him the others will get you." she has already decided that she will not participate in killing natalie, like she left the cabin and was running around with everyone, already with the intention of helping natalie if she could even without javi drowning.
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chalkrub · 6 months
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art trade w/ wizardorbs on toyhouse <:^) love beasties
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secsualtarot · 5 months
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Some women really think that just because they are the ones who get pregnant, they get to decide everything about it including whether or not to tell the man about the pregnancy.
It's basic decency to let the man know about the pregnancy and give him the chance to decide for himself if he wants to be involved or not. It's done by both people, it's fair that both people get to say what they think about it. He deserves to know about his own dna.
It's also selfish to decide on your own not to give the father a chance. This isn't just your life, it's the child's life too, and you are taking away the possibility of the child having a father who wants to be involved.
Some women are so caught up in their 'I'm independent I can do whatever I want' to the point that they forget to be considerate. If I want the baby, I want the baby. If I don't want the baby, I don't want the baby. Fuck men, right? Not getting a say at all, not even a conversation.
When people bring this up, they get so defensive and start talking about unrelated shit that men do? Men have a lot of flaws I am very much aware and they should be held accountable for the shit that they do, but this is about you not informing him about his own baby.
The only reasonable excuse is if he's abusive, or you have tried contacting him.
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layzeal · 1 year
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i'd appreciate reblogs <3
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thirdeyeblue · 6 months
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Favorite power couple
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goldkirk · 11 months
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I’ve been mentally lying on the ground in a forest glade being SO fucking Normal about Gandalf calling Frodo Bronwe athan harthad, Endurance Beyond Hope
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jacquesthepigeon · 3 months
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JTP says that killing is wrong in kid shows, meanwhile has been waiting for Gabriel to walk into a Cataclysm.
Lmao as much as I’d like to play along with “it doesn’t count if the person getting killed is Gabriel” I have actually made numerous posts complaining about Gabe getting cataclysmed and how adrichat shouldn’t have to bear the burden of being somehow responsible for his father’s health especially at such a young age
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lyramundana · 9 months
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Violeta is actually pretty physically strong and doesn't mind showing it off from time to time. When Minho annoys her too much or she just needs to keep him still, she grabs him and carries him around like one of her cats.
Boy suddenly doesn't have anything to say
@channieandhisgoonsquad
@sweetracha
@2chopsticks2eyes
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greatmuldini · 14 days
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The Iron Harp
We’re all in prison together, Johnny, one way or the other.
Act 1
Outwardly, Joseph O'Conor's play is a simple tale of love and loss in times of war: set in rural Ireland in early April of 1920, the action takes place on the property of an English industrialist whose mansion has been taken over by a contingent of IRA volunteers. Their leader is Michael O'Riordan, a gifted poet-musician in civilian life and conveniently the peace-time manager of the Englishman's estate. Michael has recently been wounded in action; now blind as a result he is no longer on active duty but still responsible for an English prisoner of war. Being a man of his word, Captain John Tregarthen has made no attempt to escape, earning Michael's trust and eventually his friendship. He also earns the friendship and love of Michael’s cousin Molly Kinsella, with whom he spends long days roaming the extensive grounds of his idyllic prison. Dreaming of a future life together, the lovers are oblivious to the feelings of their “best friend” – who ends up sacrificing his love for Molly in what he hopes will be a lasting gesture of selflessness only to find that Fate intervenes, with devastating consequences for them all.
Completing the quartet of characters is the dark and “indistinct” figure of IRA commander Sean Kelly, a dark and "indistinct" figure who emerges from the shadows to immediately assert his authority not only in military matters but - crucially, and disturbingly - in those of the heart as well. Specifically, it is the heart of Michael O’Riordan that Kelly claims to know better than O’Riordan himself. As a flesh-and-blood character Kelly is difficult to pin down: cold and calculating by his own admission, he expresses admiration for Michael's hot-blooded fighting spirit. Michael's own startled response to Kelly entering "like Nemesis himself" is ambiguous at best, and even his description of Kelly as a “good friend” comes on the back of a warning to Johnny that "he won't like you."
When Kelly tells Michael that he has never been wrong and does not know what it means to feel regret, the sense of foreboding is inescapable, yet Michael never seems to give in to the negativity emanating from his old wartime comrade who admonishes him to see his friends “as they really are” and not as “you want to see them.” Ironically, Michael refuses to see an enemy in John Tregarthen, but he is equally stubborn in applying the same criteria of honour, loyalty, and friendship to Sean Kelly, who seems troubled by this flaw in Michael’s character: "you love people too much."
Michael's emotional warmth stands in stark contrast to Kelly's impersonation of infallibility - which Michael seems to accept as a token of his friend's unassailable integrity. He continues to defer to Kelly's judgment when a messenger arrives with bad news from the front: three IRA fighters have been killed in skirmishes with British forces, and reprisals must be carried out. Twisting the metaphorical knife in the very real emotional wound, Kelly as the commanding officer nominates blind Michael to be the impartial instrument of God's justice. Forced to select three victims for execution, Michael all but collapses when one of the chosen names is that of Captain John Tregarthen.
Act 2
After he has persuaded Johnny to flee the country and reunite with Molly back in England, Michael is left alone to guard the now empty house. Blind and unable to defend himself, Michael is powerless against two marauding Black & Tans who break into the property and proceed to taunt and abuse the solitary occupant. It does not take them long to realize their victim is an IRA member rather than a civilian enjoying certain protections. Further violence is prevented only by the surprise return of Captain Tregarthen, armed and in uniform, who holds the attacker at gunpoint until Kelly and his entourage arrive to take the men away. Where any other human being would have expressed relief or gratitude at the discovery that the life of his friend has been saved, Kelly’s reaction is characteristically impassive, betraying, if anything, a degree of irritation at the unforeseen complication that has shown the condemned prisoner – the enemy – to be capable of compassion and self-sacrifice in saving the life of his friend. Human qualities that Kelly explicitly claims not to possess. As if to prove the point, he responds with the formal announcement of Tregarthen’s impending execution.
The order is to be carried out within three days, enough time for Kelly to travel to headquarters - and return with a firing squad. But first he must interrogate the captured Tans. While Kelly is thus occupied, Molly manages to convince the love of her life to take her with him. Johnny only agrees to the plan on the promise that Michael will convince Kelly to rescind the execution. If Johnny and Molly can make their way to Belfast on the early morning goods train, and from there to England, all will be well. Michael knows how to distract the guards, and Molly can bribe the train driver to let Johnny jump aboard. Three loud whistles will give the all-clear. With hopes of future happiness rekindled, Molly and Johnny each rush off to their respective tasks, and Michael is left alone with three empty glasses that he cannot see – a detail that does not escape Kelly’s notice as he re-joins Michael to formally accept his plea for clemency. Which he says he will duly submit to "the general," but in his estimation the chances of success are slim. "For God's sake, don't build up hope," he tells Michael before agonizing – to himself – over how to soften the blow for Michael: by bringing the execution forward and keeping it secret, he is certain he can spare Michael the pain and the guilt of having to witness the event.
Act 3
In the pre-dawn hours of the following day, Michael and Johnny are wide awake and waiting for the sentries to change and the train to whistle. Thinking the house empty and their enemies far away, they pass the time in a dreamlike state of high anxiety, reciting heroic poems and melancholy songs in whispering voices, so as not to miss the stroke of six to mark the end of their nightmare and the beginning of a new life – only to see Kelly standing in the door, with orders for Johnny to be executed at dawn, 24 hours earlier than they were told originally. Michael's world is falling apart, he pleads with Kelly, he begs him to show mercy, but an almost equally distressed Kelly reminds him that "I have never promised you hope." Johnny declines the comfort of a priest or minister and is led away to meet his fate offstage while, also offstage, Molly will be waiting in vain for the love of her life to board a train that will never arrive.
Left on stage for their final confrontation are Michael and his Nemesis, both knowing full well that nothing they can do or say will change what Kelly might term the preordained outcome of their efforts. To Michael's accusation of "trickery" (by which he means Kelly's surprise return before the agreed time), Kelly offers no subterfuge, no defence, and no evasion. Instead, he says, Michael’s agony is self-inflicted: it was, in fact, his own stubborn insistence on hoping against hope that has now led to anguish and pain. The only way for Michael to end all suffering, Kelly explains, is to give up hope. Unless he manages to see past the private pain of the moment and becomes a distant observer, Michael will forever be "tortured by hope."
Here Kelly is borrowing from the Conte Cruel tradition made famous by Edgar Allan Poe but named after a collection of short stories by the French symbolist writer Auguste Villiers de l'Isle-Adam. A useful definition of the genre is that it concerns "any story whose conclusion exploits the cruel aspects of the irony of fate." Not only does Kelly borrow the concept, and the title from Villiers' tale, The Torture of Hope, he even recounts the plot to underline his point:a hapless victim of the Inquisition escapes his prison cell only to stumble into the arms of the Chief Inquisitor. The lesson for Michael is that, like the victim, he keeps on hoping for release only to suffer defeat over and over again. There are no similarities, however, between himself and the sadistic Inquisitor, Kelly says: his mission is to ease Michael'ssuffering, not to prolong it.
We are given no reason to doubt Kelly’s sincerity, but neither can we reconcile the apparent contradiction between his declared intention and putting Michael’s best friend before a firing squad. If Kelly wants to end all suffering, as he says, surely, a good start would be to save Captain Tregarthen’s life? It is the argument that Michael himself is trying to make, by reminding Kelly of his god-like powers. Michael’s understanding of those powers differs fundamentally from Kelly’s own. Michael’s life-affirming principle of hope and Kelly’s seductive all-consuming fatalism are the two opposing philosophies that take centre stage in the final scene – while John Tregarthen dies a largely symbolic death offstage.
Johnny’s death is symbolic in that it is not the tragedy at the heart of the play. Michael O’Riordon is the conventional male protagonist whose existential crisis we are witnessing; Michael is unable to prevent the execution of his best friend; and to make that very point, his best friend must die. Michael’s blindness contributes to this failure in the course of the play but read as a metaphor it turns Michael into “one of us.” His blindness leaves him vulnerable to attack and it echoes our own sense of powerlessness in the face of an overwhelmingly hostile universe. The reverse, however, is also true: being blind, and being a poet, puts Michael in the illustrious company of the Blind Bard, an archetype of Western literature since at least the (mythical) time of Homer: the blind singer/seer whose “inner vision” surpasses that of sighted humanity. His Irish equivalent – and explicit model for Michael - is the (dwarf) Harper of Finn, whose iron-stringed instrument has the power to move its audience to tears. Michael O’Riordon is both vulnerable and endowed with the superpower of emotional insight – fundamentally human qualities that Kelly admires in Michael, and which he admits he does not possess.
Kelly is an abstract concept in human form; even while he is evidently the cause of human suffering, in his denial he appears to be channelling the sadistic Inquisitor. The apparent contradiction is of our own making, though: Kelly is Cruel Fate personified. He represents that which we like to imagine as the source of all our woes - the betrayals, the injustices, the disappointments which inevitably end in what we define as tragedy and what to the rest of the universe, that hostile universe, is of no consequence whatsoever. If we substitute “hostile” with “indifferent,” then Kelly becomes the antithesis to Michael’s humanity – his indifference is as inhuman as the infinite, indifferent universe. Conversely, Michael is not concerned with an infinite universe; his frame of reference is on a human scale, and very finite. Finite. When Kelly challenges Michael to take his place and adopt his abstract, God-like perspective on life, death, and the universe, Michael does reject the responsibility – but also the indifference required for the position. If the promise of a pain-free existence did not convince Michael to abandon hope, Kelly's failure to shame him into admitting defeat is a testament, at the very least, to human perseverance: we will forever be prolonging the agony to delay the inevitable. (1/4)
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itwoodbeprefect · 2 months
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i DID IT, i finally FINISHED one of ten or so attempts at bad buddy fanfiction!! 🎸 With every guitar string scar on my hand 🎸, 1527 words, extreme domestic patpran fluff warning!!
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sebek-zigbolt · 6 months
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