Source: シルヴァー
Special thanks to lavitaoscura for cleaning!
Monterey Bay Aquarium
Jules of Nature

oozey mess

JVL

blake kathryn
noise dept.
Xuebing Du

Love Begins
NASA
we're not kids anymore.

#extradirty
Stranger Things
Sade Olutola
Peter Solarz
Fai_Ryy

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official daine visual archive

titsay
art blog(derogatory)

pixel skylines
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@lookuponmyworksyemighty
Source: シルヴァー
Special thanks to lavitaoscura for cleaning!
Katsuki baby you can’t just steal a dragon hatchling like that
Katsuki baby you can’t just steal a dragon hatchling like that
I made this for Todoroki’s belated birthday so get ready for your heart breaking. (I had this idea, if Dabi is Toya Todoroki but he was brainwashed and then later he slowly regained his memories at the very last minute. BONUS: this part was that one scene from the 2002 Spiderman movie, if you know what I mean.)
I made this for Todoroki’s belated birthday so get ready for your heart breaking. (I had this idea, if Dabi is Toya Todoroki but he was brainwashed and then later he slowly regained his memories at the very last minute. BONUS: this part was that one scene from the 2002 Spiderman movie, if you know what I mean.)
So who wants a Sternclay fic with unrequited Indruck?
Because I may, in fact, be working on that. Right now. Basically, another agent comes to town with the specific job of getting rid of Stern and Barclay has got No Patience for that.
Indrid is in love with Duck, quietly.
More details to follow? I guess?
Does anyone want this fic?
An Archive of Our Own, a project of the Organization for Transformative Works
“Somehow, he woke up at the end of the world.
(They’d been too busy running for their lives, too busy trying to get out and figure out what was going on. The only things that had wanted them dead had been the guards they’d come across, not the monsters.
Never the monsters.)”
So Coco’s letters and poems prove that Ernesto was a fraud, a plagiarist, but not a killer. They don’t prove that. And while the tide certainly turns against Ernesto, he still has his fans. The ones who say that he was still a great musician in his own right, that he should stand on his own merits, things like that. And it infuriates Miguel. As a child, there’s nothing he can really do about it.
As he gets older, routes open up for him.
He doesn’t go to school at first. He becomes a musician, the way he wanted to. But he uses the doors this opens to research.
Turns out people had been side-eyeing Ernesto for awhile. After he died, Hector’s notebook was discovered in his estate (why didn’t he get rid of it? Miguel wonders. Maybe the same reason he didn’t get rid of the guitar. Maybe a trophy. Maybe sentiment. Who knows? Does it matter?), and the handwriting is so different from Ernesto’s own that there was a lot of… muttering. No one really said much, and it wasn’t something mentioned often or at all in Santa Cecilia because of how beloved Ernesto was there, but there was an undercurrent. A shift.
And then there was the question: Who is H. Rivera? Miguel answered it, but that question had hovered around for so long, because Hector had traveled with Ernesto for so long. H. Rivera was with him on train logs, in hotel billing records, on old flyers handmade by Ernesto to advertise this event or that one.
None of this is enough to prove what Miguel knows, so he digs deeper.
He works with other historians, some more dismissively referred to as conspiracy theorists. They go through old records. They comb through police files and newspapers. It takes years, years of hunting and scrounging and faking-it-till-they-make-it and going through boxes and boxes of paperwork so faint and water-damaged that it’s hard to make heads or tails of anything, but finally, finally, they find records of where Hector was buried, they think. A body found in Mexico City, left there for days before it was collected, no way to identify it, a pauper’s grave. It’s a minor miracle anything’s recorded about it at all. The bones are exhumed, and before they’re reburied in Santa Cecilia properly, beside his wife and daughter, tests are done. The time that’s passed and the state of the body make things unwieldy, but poison can be discovered in bones, in teeth, especially when it’s over a long period of time.
It’s enough. Combined with everything else, it’s enough.
There’s always going to be doubters, people who refuse to believe. Always going to be people who say it’s all circumstantial, and maybe it is, but so many cases hinge on that. It’s not all CSI stuff, it’s building up a bunch of details and facts and showing that right here, right now, that’s what those details and facts are pointing too.
H. Rivera and E. De La Cruz got on a train to Mexico City November 27th, 1921. On December 7th, 1921, the body of Hector Rivera was discovered in Mexico City. And on December 8th, 1921, E. De La Cruz got on a train to Monterrey alone.
For years, this became what Miguel focused on. This was his job, instead of music or shoes. He got married, had children, but this is what he did. And when it’s done, he sighs with relief, puts down that weight, and tries to go back to what he knows best.
Only now that’s what he knows best.
People want him to talk at seminars. Write a book. Be interviewed. He’s invited to conventions, to speak at universities, on radio shows. “I’m a shoemaker,” he complains, and the friends he made while clawing his way through centuries of paperwork laugh.
“Bro, you haven’t been a shoemaker in years.”
He still plays music, usually for Dia de los Muertos in Santa Cecilia. He has albums but rarely tours. He makes shoes, and it’s never a passion, per se, not the way it is for his father or his grandmother, but he enjoys it.
And he writes a book. Not about Ernesto, but about his great-great-grandfather, and what happened. About his great-great-grandmother, and his great-grandmother, and his family. When one of his friends wants to make a documentary about it, he helps. When another wants to make a podcast about it, he narrates it with her.
And when someone else comes out of the woodwork and asks for help, because maybe Hector wasn’t the only person Ernesto hurt or even killed, he helps.
And one day, one Dia de los Muertos, when he gets ready to sing in the plaza for his family (and his deceased family, though he only really knows that in the back of his mind), someone rushes up for an autograph and what they’re asking him to sign isn’t an album, it’s his book. Which isn’t the first time it’s happen but it is the first time it’s happened in Santa Cecilia.
“Next time, you should bring a pair of shoes,” he jokes.
(they do)
When he passes away, loved and beloved, well-remembered and mourned by many for a host of reasons, he’s listed as a father, a husband, and a crime historian.
“Sixty years I make shoes,” Miguel grouses in a way so pleasantly reminiscent of Imelda that it makes Hector laugh. “Seventy years I write music. But the ten I spent digging through moldy basements is what they remember.”
“It was a good book,” Hector offers with a grin. Miguel makes a face.
“Would have preferred not writing it at all.”
“Thank you,” Hector says, more seriously. It makes Miguel somewhat uncomfortable.
“I wasn’t gonna let him get away with it,” he says awkwardly. Hector shakes his head.
“Not for that,” he replies. “For bringing me home.”
Writing a War
(P.S.A. Before We Begin: While the above GIF is from Captain America: Civil War, I won’t be including any superhero factors in this post. I just really love the movie and this scene specifically :P Enjoy!)
Hello friends, Abby here with another writing post! I’ve noticed that the concept of war tends to play a large role in many of the novels I’ve read in the past. Due to this and the fact that my own series (Smoke Shadows) will include its own war of sorts, I was inspired to make this post. Without further ado, let’s get started!
What could cause a war?
There are, of course, many causes that can lead to a war, and it would probably be a little strange if one occurred in your story for a single reason. Let’s go through a couple of general causes that have played major roles, starting with the M.A.I.N.:
Militarism. Some countries take excessive pride in their militaries and continue building and displaying them, even during peacetime. Often nations that would perceive an action like this as a threat find these acts of militarism unsettling; this can worsen relations between the two nations or can lead the threatened nation to make a preemptive strike of sorts.
Alliances. These can be dangerous, especially secret alliances. A small country might have made secret alliances with several larger nations in secret; someone picks a fight with them and suddenly there are six other nations on their case about it. Alliances made like these are the ones that can and probably will lead to conflicts involving more countries.
Imperialism. Simply put, imperialism is the process of “stronger” nations taking over “weaker” ones for control of some sort, and usually without the consent of the country they’re taking over. (Imperialistic nations don’t seem to care much about that last part, though.) Imperialism could lead to conflict in the form of a “turf war” of sorts between imperialistic nations or to a fight for independence by the nation that’s been taken over.
Nationalism. This one is dangerous, because it often comes from a feeling of unity in a nation. This pride can range anywhere from slight to intense and can be created in whatever way you want, but a historically proven way to use this method is through things like propaganda and yellow journalism.
At least one of these four reasons play some sort of role in the starting of a war, though of course there are many other causes you could choose from. Some of these possibilities can include completely unprecedented attacks, economic/territorial gain, religion, revenge of some sort, and (intense) internal disagreements.
How to “Structure” a War
Wars are usually won not through brute force alone, but by strategy. You’ll want to keep this in mind when you think of how your war plays out; whoever is the better strategies will have a higher chance of coming out of this whole thing victorious. It will probably help tremendously for you to draw a map of your world and include every place that will be affected, then get some different colored markers to represent the different sides.
It’s especially helpful if you can make two maps, or one that you can edit easily. On one you’ll want to create a plan for each side. If you were planning out something like this, what would you plan for? Include things like:
Attack points and any (possibly) ensured victories
Retreat plans
Key areas that this side will need to win
Other people that will be travelling with the troops
Amount of troops sent to each place
Methods of communication and transportation
Weaponry used
Any rules going on (ex. don’t go after civilians, leave injured soldiers to be healed since they are no longer a threat, etc.)
There are, of course, other things to consider, but if you’re just looking for the basic information then all this should be a good starting point for you. Next up comes the results, where you take the time to figure out how each battle/conflict/whatever you’d like to call it turned out. Think of things like:
Casualties
Injuries
Prisoners of war or any M.I.A.s
Total resources used
Damage done to the surrounding area
Whether each group should completely invade, draw back, or stay where they are
Essentially, whether the conflict was a victory, defeat, or stalemate for each side
From there, you’ll want to figure out how each side will adapt to this result. The best strategizers respond to the events of this conflict will often assess their side and the other side, and change their plans a little to try and help their side regain (or keep) the advantage.
Rinse and repeat until you’ve created a war.
The Home Front
What is everyone doing at home to help this effort, if anything at all? How are people responding to the war? Consider things like governmental actions and the civilian response, and what people at home might be asked to do to aid the cause. From a governmental perspective, think of things like:
The possibility of a draft
How they would get their funding
How much control (if any) it would take over everyday life
Any new laws that might be passed
The changing of alliances
Deciding on whether or not to declare war (additionally, admitting defeat or making an attempt to find peace)
The need to prevent something like an economic depression afterwards
Trading with countries they’re not actively fighting against
You’ll also want to consider things like propaganda. It’s often a “strategy” used to increase morale at home and to help unify the nation during wartime. This can be used for a lot of purposes, but it’s often to 1) encourage those who would be able to enlist to do so or 2) encourage those who can’t enlist to still find ways to help the country.
Some other things that might change in the home life include:
Work and education standards
Anything that goes into and out of a person’s bank account (or the equivalent); things like taxes and pay grades might change
The possibility of rationing, if needed
People spending more free time helping out in the effort
How people would react to family being sent away to fight (and the possibility of bad news being brought back)
The demand for different jobs and how this demand might be met
Any major changes in priority for the people as a whole
Ending the War
And finally, we’ve made it to the end! One way or another, things are going to come to a close on this conflict. It might have been a month, a year, or a decade since the initial declaration of war, but we’ve made it. What comes with the end of a war can vary in essentially every way you can imagine. You’ll want to consider things like:
Treaties (including things like alliances that might have been formed or come to an end, war reparations, punishments, etc.)
Any measures meant to prevent another war of this nature
Things being done to help any countries on which the war was fought, if anything at all
Lasting feelings that might lead to future conflicts or developments
And that’s all I’ve got for today, I hope this helped! If there’s anything you want to see me write about in my next post, please don’t hesitate to leave a message in my ask. Until next time, much love! <333
An Archive of Our Own, a project of the Organization for Transformative Works
The Doctor leaned against the console of the TARDIS, pressing his forehead to the middle and closing his eyes.
“C’mon old girl,” he whispered, tilting his head and pressing a hand to the glass. “Just one trip back on our own timeline, just this once. Do you remember where we were, once? I need…” he trailed off, voice hitching around a sob. “Just this once,” he told his beloved ship.
“We need him,” he whispered, just barely able to be heard in the silence of the TARDIS. The Ponds were gone, he was alone.
He was alone.
The engines shuddered, like she was arguing with him. “No, I know,” he told her, face still against what might as well have been hers. “I know. Not supposed to, it’ll hurt us, paradoxes and rewriting history…But trust me. We need him. We’ve tried it without him, we’ve lost so many. So many people have come through here and gone off again, we’ve lost so many.”
There was a pause, an expectant moment of absolute silence.
(I rewrote the entire goddamned timeline to fix Moffat’s fuck-ups.)
An Archive of Our Own, a project of the Organization for Transformative Works
Miles cautioned him to be quiet, leading the way in and around corners. Some quick thinking on Waylon’s part had gotten them a schematic of the building and Miles had only needed to look at it for a few minutes before they had gone in.
Waylon followed along, trying to blend in as much as possible. With computer bags slung over both shoulders and his usual wrinkled-programmer look back, he probably looked like he belonged in the IT department. He had swapped out the cane Miles had bought for him after an intense debate about the merits of both. It had been decided, eventually, that the normal cane would look less invasive.
An Archive of Our Own, a project of the Organization for Transformative Works
Somehow, without Havoc really noticing or understanding why, he gained three people in his home.
He does not actually have a problem with this
An Archive of Our Own, a project of the Organization for Transformative Works
Dani catches something remarkable in the photos she takes of her and her siblings.
An Archive of Our Own, a project of the Organization for Transformative Works
Finishing out the section, we have Miles and Waylon going to Eddie Gluskin’s childhood home before they continue on to wage war against Murkoff.
An Archive of Our Own, a project of the Organization for Transformative Works
Chapter ten is now up!
George and Will have sex with feelings because everything sucked for a long time.
An Archive of Our Own, a project of the Organization for Transformative Works
Credence Barebone deserved better. Newt Scamander has been a big help in him realizing this.
An Archive of Our Own, a project of the Organization for Transformative Works
Part 22 of the Don't Take My Sunshine Away series
Amélie LaCroix and the hunt for Sombra, assisted by Junkrat and Roadhog.