Iâm sorry butâŠ.this is hilarious to međ. Zuko literally leaving his fighting pose to yell at his little sister is both so in character and such a sibling move.
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@ilya-halfelven
Iâm sorry butâŠ.this is hilarious to međ. Zuko literally leaving his fighting pose to yell at his little sister is both so in character and such a sibling move.
CHTHON: A great sorceress has awakened this night. With her first hex, Chthon touches your world. Chthon speaks to you⊠through seven hells. The influence of Set will reach here no more. The Serpent Crown returns to the ice. Go too, acolyte of Set. Lest yo harm my faithful charge. Know this⊠the young witch is special to Chthon. She will be loyal to no coven.
Mystic Arcana: Scarlet Witch by Jeff Parker & Juan Santacruz
Chthon is technically protecting Wanda from Set and the Serpent Crown in this scene, but his role is less protective father figure and more disgruntled owner. She is meant to be his vessel, and he doesnât want anyone else having access to her.
There are some people who think, because Chthon is evil and Wanda is connected to him, that her writer troubles random villainy is because of him. When Diassembled and HoM first happened, it made sense to assume those things were caused by or related to him, but Childrenâs Crusade has since attributed them to Doomâs scheming and something called âthe life force.â Even though I liked the âChthon is involvedâ theory a few years ago, it doesnât make sense with whatâs come after. I donât think Chthon wants Wanda being infected with âthe life forceâ or pumped full of⊠whatever Immortus put into her. He sees her as a possession. Both Chthon and his cult watch over her. He wanted her to learn to control her powers better because that made her a better vessel. I think he wants her to be in pristine condition and not messed up by all other beings.
Set is immensely powerful. Heâs a potential rival to Chthon, and it makes sense Chthon wants him away from Wanda because he is a threat to Chthonâs plans. But I donât think Chthon wants these other characters messing with Wanda either. If you owned something that had no emotional value to you but was important because you planned to use it for something special later, you wouldnât want a three-year-old playing with it and smashing it to pieces. All of these schemes must seem trivial to an immortal being of infinite power. He probably doesnât care about any of that stuff, even as mild entertainment, but he does care about what happens to his would-be vessel. I canât buy that heâs thrilled about her being used by these lesser beings.
As a mother reading romance/fantasy, LoA is SO important to me.
Everywhere I look, thereâs dead mothers in the heroâs backstory. Dead mothers without names and tragic lives. No personalities, no impact to the plot, no substance for me to look inside and see my motherhood experience reflected back. Nothing to offer the narrative except grief or pain.
But with Lady of Autumn? Thereâs a chance. Thereâs finally a chance for a gripping, inspiring story.
I need her to be a loving, devoted mother. I need her to be the last saving grace keeping her sons together against the brutality of Beron. I need to see the immense strength it took to sacrifice her own mating bond to protect her children. I need to see an example of an older mother with adult children still getting her own epic romanceâbecause she is worthy of love even after all those years spent protecting her flesh and blood over her own happiness. I need to see her play a pivotal, political role in Beronâs takedown as High Lord. I need to see her love her sons despite the moments they are cruel, selfish, or ugly from their fatherâs influence. I need to see more examples of how a motherâs fierce, unconditional love has teeth. I need to see her children be better because of itâthat her love has the power to change the world and its fate. I need to see LoA transform from tragedy to heroine.
Mothers need the representation. Motherhood needs the representation. Show me love conquers all. I need it.
Lucien was tormented his entire life.
He looked different from his brothers.
Being what was considered "High Fae" in their world did not protect him from harm.
Just because Beron could not prove Helion sired Lucien (though he suspected) it does not mean Lucien purposely hid his Day Court heritage to stay safe (since he wasn't safe in Autumn).
It does not not mean Lucien was free from harm, his brothers / father tried to kill him.
Lucien did not have it easier because of the way he looked or because of the type of Fae that he was.
be kind and respectful to fanfic writers
be kind and respectful to fan artists
be kind and respectful to people in your fandom
be kind and respectful to people
Egyptian goose and goslings I spotted on a walk today: such cute little fluffballs!
Zuko's role in Epic AU
Jorge Rivera Herrans mentioned throughout the musical, Odysseus was learning how to become ruthless. I don't want to copy and paste Odysseus' personal journey onto Zuko who I believe would handle some events much differently.
Zuko's journey would be about defiance.
He defies the Sky Fire god (Ozai) by sparing enemy's infant son.
He defies the Goddess of War (Azula) by sparing the Cyclops.
He defies the Ocean goddess (Hama) by using the wind bag to escape.
The only time Zuko did give into being cold and heartless was after seeing Iroh in the Spirit Realm, discovering he had died while Zuko was away, and learning of the prophecy of his wife Katara in the arms of another man (The Blue Spirit). Zuko then ordered his crew to merciless kill the sirens then sacrificed six of his crewmembers in the Lair of Koh.
After a mutiny lead by Sokka, the Sky Fire god returned when the sacred cattle were slaughtered and offered Zuko a choice. His death or his crew's death in exchanged for the cattle. He expected Zuko to choose his crew.
Zuko chose himself.
The Sky Fire god saw this as another act of rebellion. So, he scarred Zuko to teach him obedience then killed the rest of his crew.
But Zuko continued to deify fate.
He silently defies the Island goddess (Ty Lee) by never truly surrendering to her advances or losing hope of escape.
Zuko's defiance inspired others.
The Goddess of War, his friend and former mentor (and half-sister), rebelled against her father the Sky Fire god by fighting for Zuko's release.
His fallen friends and comrades escape the spirit realm and helped Zuko in his fight against the Ocean goddess.
In Zuko's last act of defiance, he forced the Ocean goddess to lift her storm so he can return home to his family in a matter very similar to the musical, echoing her own words against her.
Claim your ticket guys:D
get yalls while it lasts, lol
I really like The Apothecary Diaries, so here's Maomao for your dash.
JINSHI AND MAOMAO đŁïžđŁïž
Take a moment to analyze the art work! Write in the comments what you think about it, the colors, the composition, the characters, why you like it, etc!
I wanted to finish this for Maomaoâs birthday but uh⊠Iâm way late đ
Gorgeous fanart of my fave ship from Apothecary Diaries, JinMao! đ
If you donât understand why it is important for Maomao and Jinshi to end up together, then you donât fully understand Maomaoâs character. Maomaoâs character arc is built in such a way that accepting a relationship with Jinshi is a necessity for it to work.
It takes so long for them to be together because a main characterâs arc resolution has to happen at the end of the story (which Natsu originally intended to be volume 12).
Maomao starts the story believing in the anti-theme, essentially the opposite of the main theme:
âTo be loved, even just for a little whileâthatâs a wonderful thing. You almost⊠start to think it means thereâs a place you belong.â
âChueâs line to Maomao
This is what Maomao ultimately needs to understand. Because of her ghost (an often traumatic event that gives a character their main flaw or incorrect worldview) so in her case not receiving love as a baby, Maomao grows up overly reliant on logic and repressing her emotions. This emotional repression is the anti-theme.
A few examples:
She canât admit to Jinshi that she wants to help Xiaolan because Xiaolan is her friend.
She refers to Luomen as her mentor rather than her father figure in front of Jinshi.
This flaw creates her want, which we see in her goal: to maintain her life exactly as it is. At the beginning of the story, she has no plans to make friends, find a partner, or form new relationships. She is comfortable with the relationships she has always had with her sister and her father because they donât challenge her emotional repression. And this is why she runs away about any clue related to Jinshiâs real identity, because she doesnât want their dynamic to change.
For this type of character, who has a maintenance goal rather than an active one, there need to be other forces or characters who drive the plot. Thatâs why the story begins with her being kidnapped, and why Jinshi takes more plot-changing actions than she does.
However, what a character wants is not necessarily what they need. Jinshi already believes in the theme, which is why his main goal is to be with Maomao. But while his goal is correct, the way he goes about it is flawed. Jinshi needs to learn to be less possessive, which ties into another theme of the story: autonomy.
Jinshiâs possessiveness is rooted in his own ghost, having the toys he loved as a child taken away from him. As a result, he clings too tightly to the things and people he cares about.
This is why Maomao and Jinshi complement each other. Throughout the story, Jinshi challenges Maomao to open up emotionally, while Maomaoâs emotional repression forces Jinshi to unlearn his possessive behavior. In other words, if Maomao were like many other girls who are immediately smitten with Jinshi, he would never have learned to let go. And if Jinshi were not so possessive and stubborn in his pursuit of her, Maomao would never truly open up emotionally, something that Joka herself acknowledges.
âMaomao, youâre very fortunate. This person is clearly very persistent, extremely stubborn, doesnât know when to quitââ
âGee, he sounds like a real catch,â Pairin interjected, but Joka ignored her.
ââand is good enough that even you were willing to let him win.â
In volume 12, Maomao is willing to give up her want: to maintain her life the way it is, for her need: to be with Jinshi, even though he is still the Moon Prince and, as she strongly suspects and later confirms in volume 13, the Emperorâs son. In other words, choosing Jinshi means abandoning the emotional safety of maintaining her old, controlled life and accepting love, belonging, and the complications that come with them.
In volume 15, Jinshi is willing to give up his want: to be with Maomao, for his need: learning to let go by prioritizing Maomaoâs autonomy over his own desire.
Maomao moves toward connection by surrendering control while Jinshi moves toward healthy love by surrendering control.
This series often gets a chuckle out of me, but this drew a belly-laugh ngl. Had to replay it right away. The pacing here is genius, with Jinshi staring at her for way longer than regular slow-motion takes, so long that it gets weird even for the viewer, in complete silence, and then the instant cut-off to him bashing his head against the wall. Hahahaha
Zutara headcanon:
Zuko was born at midnight in the dead of winter. Katara was born right as the sun rose in the middle of summer.
done.
Tui and La, Oma and Shu, Zuko and Katara.
I'll find you in every lifetime.
(X)
@elemen You really gave me something to chew on with this one đ I was trying to find some commonality, and after some toing and froing, I landed on this. I think it makes sense. In a kind of weird, dream-logic way (I hope I managed to communicate a bit of that, but jeez this was hard) đ€Ł
Iâm still taking requests if anyone would like me to write something for them. Details here, fics Iâve already written for this here.
The Space Where It Was
Rose Walker woke up at three in the morning with her hand against her chest. The heartbeat was there. Of course it was. A heart doing its job the way hearts do.
She breathed out and stared at the ceiling.
The thing was though: She remembered the red glass heart in her hand before she had passed it to Unity. Sheâd reached inside herself and found it waiting there, had not even known it existed until her grandmother had said, âGive me what makes you what you are.â And she had, and now there was a place in her chest that wasnât exactly empty, but not entirely full either.
Eventually, she fell back asleep...
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