Chapter 29: Chasing The Dragon
https://archiveofourown.org/works/23522227
Monterey Bay Aquarium
Cosmic Funnies
Cosimo Galluzzi
TVSTRANGERTHINGS

Love Begins
untitled
Xuebing Du
$LAYYYTER
cherry valley forever
RMH
KIROKAZE

PR's Tumblrdome
The Stonewall Inn

No title available
trying on a metaphor

pixel skylines
tumblr dot com
ojovivo
Lint Roller? I Barely Know Her
One Nice Bug Per Day

seen from Austria
seen from Venezuela
seen from United States

seen from France
seen from Australia
seen from United States

seen from Spain

seen from United States

seen from Colombia

seen from Switzerland

seen from Panama

seen from Iraq

seen from Ecuador

seen from Germany
seen from Brazil
seen from Germany
seen from United States
seen from Ukraine
seen from Italy
seen from Myanmar (Burma)
@ipnilosmagos
Chapter 29: Chasing The Dragon
https://archiveofourown.org/works/23522227
Sorry I was too lazy to do the subtitles
Thank you @smolestboop for another perfect piece of the boys!!
An Archive of Our Own, a project of the Organization for Transformative Works
Chapters: 28/? Fandom: Darkest Dungeon (Video Game) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Relationships: Dismas/Reynauld (Darkest Dungeon), Dismas & Reynauld (Darkest Dungeon), Bounty Hunter/Dismas (Darkest Dungeon), Reymas Characters: Dismas (Darkest Dungeon), Reynauld (Darkest Dungeon), Musar (Darkest Duneon), Highwayman (Darkest Dungeon), Crusader (Darkest Dungeon), Bounty Hunter (Darkest Dungeon), Lady Viara Allard Beauffant, Plague Doctor (Darkest Dungeon), Grave Robber (Darkest Dungeon), Occultist (Darkest Dungeon), Leper (Darkest Dungeon), Viara (Grave Robber), Musar (Bounty Hunter), Alzalam Al-Din (Occultist), Perimede (Plague Doctor), Junia (vestal), Jinthura (vestal), Obi (Man-At-Arms), Peter (Flagellant), William (Hound Master) Additional Tags: Relationship(s), Slow Burn, Slow Build, Non-Canon Relationship, Mild Gore, Hurt/Comfort, Angst, Fluff and Angst, Mild Smut, Drug Use, Blood and Gore Summary:
Dismas gets roped into helping an heiress and meets Reynauld and Musar.
Something something as long as the heart still beats something something
I do commissions!
wip
Ch 27: The Collector
An Archive of Our Own, a project of the Organization for Transformative Works
THEY'RE BACK!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Putting the post out here for the end of July to open slots and garner interest, but I will officially begin commissions full-time to support myself starting August 1, 2025.
**EDIT** Aug 7, 2025 - 2/5 slots open!
My Ko-fi if you'd like to support me without a commission!!!!
Modern adaptation where the narrator is on a Megabus and just crushing a bag of Takis, wiping the dust on his Pepe shirt
The story was written in 1931 and set in 1927
This is the Cheez–It box design circa 1929
This is what our hero was carrying around town while he interviewed spooky fish people
@natalieironside
Meow
奥田瑛二 × 真田広之 || 眠らない街 新宿鮫 (1993)
Posture & Physical Presence For Writers
(Because how they stand can say more than how they speak.)
Upright and stiff — Formal, tense, or deeply uncomfortable. Slouched shoulders — Insecure, exhausted, or defeated. Relaxed stance — Open, comfortable, confident. Hands in pockets — Guarded, casual, or hiding something. Crossed arms — Defensive, cold, or waiting to be impressed. Leaning forward — Engaged, flirtatious, or impatient. Back straight, chin high — Proud, stubborn, or putting on a show. Shifting weight side to side — Nervous, indecisive, or stalling. Foot tapping — Anxious, impatient, or barely holding it together. Arms loose at sides — Neutral, calm, open to the moment. Fidgeting with sleeves/hair/etc. — Inner turmoil disguised as casual touch. Spine curled inward — Trying to be small, invisible, or unnoticeable. Standing too still — Suppressed emotion, discomfort, or internal freeze. Dominant stance (feet wide, chest forward) — Confidence, aggression, or showmanship. Head tilted slightly — Curiosity, confusion, or playful challenge.
Rage, Grief & Other Quiet Explosions
(Emotional meltdowns that don’t look like meltdowns, but absolutely are)
The “Smiling Too Much” Grief Your character’s entire world is on fire, and they’re asking if anyone wants more wine. That’s not denial, it’s an effort to hold the damn pieces together. Smile like a glue gun. Watch them crack.
The “Not Crying At the Funeral” Breakdown They don't shed a tear. They organize everything. Perfect speech. Perfect outfit. But a week later, they scream into the laundry basket over a missing sock. That’s the moment. That’s the eulogy.
The “Silent Dinner Table” Fight No yelling. No slamming doors. Just chewing. Clinking silverware. The kind of silence that tastes like metal. Let the reader feel the air shrink.
The “Polite but Dead Inside” Apology They say “Sorry” because it’s expected, not because they’re ready. Their voice doesn’t crack. Their eyes don’t meet yours. This isn’t healing. This is a peace treaty with no peace.
The “I Don’t Want to Talk About It” Detour The one where they ask about your day mid-sob. Redirect. Deflect. “Let’s not talk about me.” That’s rage choked by shame. Write it like it’s shoving itself into a smaller box.
The “Obsessively Productive” Meltdown New projects. New hobbies. Suddenly they’re running marathons, baking sourdough, fixing the garage door. Because if they sit still for one second, they’ll break. Keep the camera on them when they finally sit.
The “Unsent Letters” Grief They write it all down. Every damn emotion. Then burn it. Or delete it. Or hide it in a shoebox under their bed. It’s not for closure. It’s to let the ghosts know they were seen.
The “I’m Fine” That Echoes Delivered too fast. Too sharp. You could bounce a quarter off it. “I’m fine” isn’t fine. It’s the dam cracking. Listen to the echo. Let another character hear the hollowness.
The “Hyper-Logical Rant” Rage They argue with spreadsheets. With perfect bullet points. Cold rage—like ice, not fire. “I’m not mad, I’m just saying…” But that’s a lie. They’re volcanic under that clipboard.
The “Laughing in the Middle of the Breakdown” Moment That bitter, hysterical laugh. The kind that sounds more like sobbing with teeth. Let it come at the worst time. Let it shock even them. That’s emotion refusing to stay boxed in.
why are all these modern aus for the Odyssey set in a high school. where's the retelling where Odysseus is just a guy lost in an airport who keeps missing his connecting flights home due to a comical series of delays and disgruntled airline employees
Absolutely genuis
Every few minutes, someone honks. The woman behind the wheel shifts and lowers her sunglasses to glare at the circling cars in the rearview mirror. Vultures. Let them curse. She keeps her doors locked and her phone battery charged. Penelope has been waiting in the arrivals lot for far too long, and she refuses to give up her place for anyone.
Endlessly diabolical how you can't say words like rape and suicide uncensored without either being criticised by idiots or punished by conglomerates.
It's not r*pe, it's rape. It's not su*cide, it's suicide. Not unalive, dead. The backbone needs to be reintroduced en masse because softening the blow of these concepts with advertising language does absolutely nothing but allow people unaffected by them to feel not even a sting of what they can do, prompting inaction.
And it's been proven that on certain websites, you don't even face a repercussion for using the words as they are. People just started censoring themselves because they feared the potential lack of views and likes and followers which is so nasty itself.
I attended an anti-suicide seminar in college. One of the big takeaways from it was that stigmatizing suicide increases the rate of suicide, because people who are feeling suicidal feel like they can't ask for help. Every time I see babytalk garbage like 'unalive', I think of that.
I think about Azula shooters often and their common refrain of "if Azula hadn't had a mental breakdown, she would've won" and I'm here to tell you that no, she wouldn't have.
There is no universe in which Azula was winning that fight with Zuko (or Katara, for that matter).
Azula spent so much of Book 2 being built up as this deadly terrifying force against whom the heroes are badly outmatched that it can be difficult to catch exactly how quickly Zuko is advancing.
Back up a bit to Book One. For the fearsome exiled crown prince of the Fire Nation, Zuko's not that impressive a firebender. He's not bad by any stretch, and he's able to lay the untrained Sokka and Katara flat pretty easily. Then he gets in the ring with Aang, who is an airbending master, and the difference between a regular bender and a master becomes apparent when Aang literally puts his ass to bed:
People have attributed this to the fact that no one's fought an airbender in 100 years, but I think it's also worth noting that Aang (a 12 year old from a pacifist nation) has probably never fought anyone before. Like, ever. And yet the second Aang thinks "okay, I'll attack back", the fight's over.
Zuko's got the same genetic predisposition for firebending talent that Azula does, yet it never seems to manifest because of his mental blocks. At the beginning of the series, he's already so beat down that all he really has is conviction, pride, and anger, so even with training from Iroh (the firebending master, thank you very much), he struggles. Yet throughout Book 2, when he has no time to train because he's on the run, he actually seems to advance faster. The fact that his bending is literally tied to his character arc (as his morals become tangled and he has to fight off aforementioned mental blocks) is pretty brilliant. Like, by the time of the Crossroads of Destiny, Zuko getting his ass handed to him by Aang is a pretty consistent feature of the show--he just can't match wits with him.
Hell, at the beginning of the series, he and Iroh (again: the actual firebending master) launch a combined power surface-to-air attack...which Aang casually swats away into a nearby ice wall. Come the Crossroads of Destiny, however, and Zuko by himself launches this bigass fireball that blows through Aang's defenses.
Zuko advances so quickly that it's scary. That prodigious talent is in him even if it doesn't come through as cleanly as with Azula. Who, by the way, was busy about to get flattened by Katara some few dozen feet away, until Zuko took over and then effectively stalemated her himself.
All of this in retrospect makes it abundantly clear why Zuko's firebending seemed to skyrocket so much when he learned true firebending from the Sun Warriors: it was really the only thing left. He's hard a hard road learning how to fight waterbenders, earthbenders, and airbenders, and even if unconsciously, he's applying the philosophy Iroh taught him about augmenting his bending style with aspects of other styles (see also, the waterbending-like fire whips he uses in the above gif). Once he actually understands fire and how it works, he's got it mastered. Hence why any gap between him and Azula effectively disappears as soon as their next fight--before her friends have betrayed her and her stability goes out the window. There's no real sense of urgency to their fight at the Boiling Rock prison. True, Sokka's presence with the sword helps, but Zuko doesn't look remotely worried and he counters Azula's every attack perfectly.
All her life, Azula only ever learned fire. She was taught by the best people the fire nation can employ, so she knows all the cool tricks, but she's still poisoned by the corrupted firebending practiced in the modern ATLA timeline. Unlike Zuko, who managed to get the basics if nothing else from Iroh (fire comes from the breath, and can be used to survive as much as to kill), Azula has always used fire as a weapon and a means to hurt others. She has no true knowledge of the craft, meaning she's got the same weaknesses as Zhao, she's just better disciplined to the point she can make up for it.
Zuko's victory was a given considering Azula's complete loss of control by the time of Sozin's comet, but even had she been in a perfect mental state, she'd have lost, because in many ways Zuko is simply the better firebender.
And that's the truth of it.