literally titled series

pairing: shigaraki/dabi

theme: highschool au

summary: after a fight with his father, dabi seeks comfort in tomura.

warning: aftermath of physical child abuse; description of wounds

The rain gently knocks against his window and so Tomura doesn’t realize the soft ‘plinks’ of tiny stones colliding with the glass. A gloved hand reaches up to rub at his eyes, sleep still numbing his mind. He halts, waiting, trying to see if maybe he simply imagined the sounds – but there they were again, insisting. Tomura glides out of bed and tiptoes over the cold floor to the window. Even in the dull light of the street lamps, he immediately makes out Dabi’s form, tips of black hair pushing up from underneath a dark hoodie. He stares up at Tomura, his face covered in the night’s darkness.

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1/ times where members of MY FIRST STORY are being their weird usual selves (ft. sassy hiro and teru the “ballerina”)

joannalannister  asked:

Could I ask you to talk about your idea of Westeros as an iconophobic society? Also what about art patronage vs art collections? I love your thoughts!!

This was also something @him-e asked for so here we go! ( @maravding: I’ve only now seen your reblog and I’ll do another post for the Martells and Tyrells, it’s probably going to be short but this one turned out already long enough!)

I used “iconophobic” pretty broadly, I should probably have said “a culture that looks bizarrely uninterested in pictures considering that, if we have an idea of how people in the real life historical period ASoIaF is based on thought and looked like, it’s also because they left us a shitton of visual sources” (though iconophobic is probably right for the North, but that’s farther down in the post).

It’s certainly not an iconoclastic culture because there’s no apparent ideological or religious condemnation of pictures, they just don’t seem to feature very prominently in the way culture is shared, and I think this can be traced back to a couple of issues I have with the general worldbuilding in the series: late Medieval England as a template for Westeros, and Martin’s own bias as a writer.

Disclaimer: I *am* about to nitpick and this is not a dig at Martin’s ability as a writer and worldbuilder. I think that overall, the worldbuilding in ASoIaF is impressive: you get a feeling of a rich, tangible world especially wrt Westeros (Essos is a bit more stereotyped, Sothoryos even more so), and I guess that’s exactly why the corners that Martin doesn’t explore as thoroughly stand out to me.

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Sign of Three Stillbirths

There have been two stillborn people mentioned on Sherlock:

1) Rachel Wilson, Jennifer Wilson’s (the pink lady’s) stillborn daughter in ASiP.  'Rachel’, is the pivotal clue to the case in that episode.

2) Mary Morstan, whose identity John’s wife steals to create a new persona.

People say that, ‘things come in threes’, that’s a motif seen throughout the culture.  It is so deeply ingrained in the collective psyche that it’s even a kind of real life superstition.

The Sign of Three is the literal title of Series 3, episode 2.

It stands to reason that there will be a third stillbirth on the show.  Sadly, this would be baby Watson.  

There’s no reason why either of the previously included stillbirths should be there at all.  Rachel Wilson could have been Jennifer Wilson’s daughter who passed away at another time of her life and the same effect would have been achieved with regards to Sherlock not showing a socially appropriate emotional reaction.  We could have lead up to the, 'a bit not good’, comment with another type of death, there.

The woman was know as Mary Watson could have stolen an identity some other way as well.  She could have stolen the identity of a living person.  And she could have stolen the identity of a person who died at another age, as long as their birth dates were sufficiently similar.

The only reason to include this tragic type of death is to foreshadow the death of baby Watson.

This would fit in with Moffat’s comment about something, 'devastating’ happening in series 4.