Finally getting the hang of drawing my A.I.s robot body designs.

Introducing Auto.

Auto enjoys napping, watching sunrises/sets and building bridges 

a requiem of time [ot7/immortal oc]
↳ collection of seven short stories that follow the protagonist’s journey through her endless days.

spotify playlist 

clouds and starlight — astronomer kim taehyung, set in 1830
downhearted blues — writer min yoongi, set in 1924
moonlight cocktail — soldier park jimin, set in 1945
at last, sunrise — traveller jung hoseok, set in 2017
a glimpse into the past — nostalgist kim seokjin, set in 2055
views from neptune — space tour guide jeon jungkook, set in 2700
before I disappear — archaeologist kim namjoon, set in the far future

The last words your dying mother whispered in your ear did not make much sense, but you’re aware that the reason for your perennial heartbeats and ageless skin is found in them. Born in the dark, cloudy 1600s, all you can remember is running — from ghosts and people and even the darkness, which finally claimed the life of your family and left you with a heart that is too big and empty, too alive.

You have wandered on your own ever since, pathless and future uncertain, always asking yourself if your end will ever come. But you get up no matter how many times you fall, even when you beg your legs to stay on the ground.

Even so, the passing years are not all that hazy. Through the fear of losing your humanity and the ever so evolving mortals, there are seven fixed points in your life that you can always look back on with glossy eyes and a buoyant smile, all so different but connected through the love you have given them unconditionally.

They are the seven times you fell in love, and those seven times you never forgot.

coming soon

Yes, I see the rebirth symbolism. No, I don’t think that it means the end of 1D.

Obviously, Harry wants to grow with this project, present himself in a new light with the public. A lot of the symbolism we’ve seen so far – emerging from water, sunrise/set, “Sign of the Times”, the sheer drama of the promo – indicates a maturation, a moving on from the past. But wouldn’t that be what anyone who has been in Harry’s situation would want? For the last seven years, he’s had an image that isn’t true to who he is forced upon him. If he’s going to counter that image and show who he really is, it has to be a radical shift. Especially for people who only give him 3 seconds of thought before reaching a conclusion and moving on to the next thing to cross their timeline. But while marketing needs to be blunt, obvious, Harry himself is capable of complexity, nuance, balance. I think it does a disservice to him to reduce his complexity to a marketing message that is aimed primarily at those who don’t know him.

Growing up, maturing, coming into your own doesn’t require disposing everything from your past. It’s about holding onto the parts that work for your future and putting away childish things. And I think that while Harry considers the shallow, womanizer image to be a childish thing, I don’t think he thinks his bandmates or the collective, matured creativity they have yet to share to be a childish thing. Nothing he’s ever said has indicated that. The image he has to wrestle with comes from how he was marketed – not from his bandmates or their experiences as a unit. Harry has never said anything to indicate that 1D is something he wants to move past or set away as a childish thing. Like any curious, intelligent, creative young person, Harry – and Louis, Niall, and Liam – wants to grab hold of everything he can and figure out which parts fit his mature self. Change happens. Change is good. Change is stimulating. Change doesn’t mean forgetting the past. All of them will change and grow. 

I know we haven’t heard from Harry directly on the topic, but the others have reassured us time and again that 1D has a future. I know they lie, but they lie when they can’t tell the truth and hedging/avoiding would essentially give away the truth. When asked about anyone leaving the band before Zayn’s departure, they couldn’t say anything other than a definitive “No” or it would be an effective “Yes.” Hedging wouldn’t have worked. But it would work in this situation. “We’re all just focused on our own work right now. We will have to see how we feel in the future.” “I really hope so, but we needed a break. We can’t make any decisions right now.” etc. But they didn’t do that; they clearly said that 1D would be back. And we haven’t heard much from Harry on anything, which I think is part of his effort to establish a dramatic shift in his image, so his silence on the matter doesn’t really tell us much. I can’t imagine the others would be so definitive if they knew that ¼ was intending to move on without them. 

I once thought that announcing firm future plans for the band would be the best so that they can do their solo work without the doubts hanging over their heads. I think I was wrong about this being best – to announce future band plans would place a limit on the time possible to devote to their solo projects and would make it seem like those projects aren’t as important and are just gap fillers. I don’t think they want that. I think they want it all – to have full, fruitful solo careers and then take what they’ve learned and how they’ve grown into a new era as a band, as a team. They were kids when 1D started; they need/want to grow up now. Their growth was stunted in the factory-produced boyband under the old regime. I am sure that contractual issues shape the way it has to happen, but I think these solo projects are their chance to grow and discover who they are as artists and people. That doesn’t mean leaving behind the good parts from a not totally great experience. Maturity is being able to separate the childish things from those that shape who you are going forward.

Dating Nathan Prescott would include:

•Him letting you wear his jacket when you’re cold
•Early morning breakfast at Two Whales
•Calming him when he’s having a panic attack
•Him protecting you from Jefferson
•Random kisses in class
• Hickeys, so many hickeys
•He loves to take photos of you when you’re not looking
•Walking on the beach to look at the whales
•Nathan cries real hardcore tears when he sees the dead whales with his own eyes
•Taking day long drives going to random places and just cuddling when he’s stressed
•Watching the sunrise and set together
•He lashes out at you sometimes
•But you tend to calm him down fast
•You and him shotgun sometimes
•He can only feel truly at peace when he’s with you
•"I love you Y/N"

Pop punk problem #50


I. ACT ONE- Set Up [scene 1: Meetings]


Dionysus (THE MORTAL LOVING GOD) sees across the room, through throngs of people. Music shakes the ground, thrums up his veins, makes him feel like he has a beating heart. 

And The Boy (THE BRIGHT LIGHT, IMMORTAL WITH YOUTH), with laughter in him, is drunk on more than just wine. He looks the way Dionysus hopes these nights will let him feel. 

Instantly, in the air stolen from lungs, never to be recaptured, he’s in love.

He’s also across the room so Dionysus kisses the lips of his bottle instead.

II. ACT ONE- Set Up [scene 2: Rumors and Background]


Those TWO (COLD TWINS) have knife sharp eyes and wicked teeth, that pull in and gut. Make you love and treat with reproach. 

Apollo has broken many hearts with love. A singing fire song.

(Artemis, does it by never giving love out at all. Quick in kindness, they fall at her knees in hope.)

Dionysus almost loves him on that alone, the wicked insanity of it all.

Rumors, of sweet ichor in his blood, wine that runs off lips, the heartless deity.

III. ACT ONE- Set Up [scene 3: The pull]


He’s dancing on a table and the music is in him.

All the colors, so blinding before, have become swings of his hips. Neon colored lipsticks and shades of shoved off couches are flushes of cheeks. 

Dionysus: lustful and drunk.

Throws himself into the night.

“Apollo,” is in the shell of his ear. A prayer for the night. Dionysus screams with religious ecstasy.

IV. ACT TWO- Confrontation  [scene 1: In the presence of]

Soft skin forms soft lips forms soft words forms soft poems.

Dionysus revels in beauty, swallows the sights down hard, and he is that.

V.  ACT TWO- Confrontation [scene 2: In the absence of]


with a white sun burning eyelids red.

Quiet rings loud, reverberating off four walls of unfamiliar rooms. Ataste in the air is sweet and untouched, morning.

And a spot of tangled dark clothes on a spotless carpet.


VI. ACT TWO- Confrontation [scene 3: Way Home]

(Setting, specific): Sunrise air sticks hot. Thoughts cloud together on humid winds. 

Sepia skin hands. Icarus, they say fell from those hands.

Tight muscled calves, to soft skinned thighs. Daphne, they say, ran herself to death chasing love, trying to run from the agony.

- Oh and how Dionysus (A GOD, ON HEAVENLY CLOUD) knows he would too. 

To wake in a cold room, to shuffle cold feet along air conditioned tile, to walk the sun’s path home. 

In those eyes were every sorrow he’s ever met. In the hot puffed breathes was the last sin he’ll ever breathe. In the pink flash tongue was the last bits of warmth before a winter you won’t survive.

VII. ACT TWO- Confrontation [scene 4: Last thoughts (the oracle) ]


Dionysus knowing he will never find the path back to that place.

Starts the dance with a golden (enough) girl, her whispers, her teeth. “A virgin.”

There’s an ethereal step to her twirls. “Won’t be for long.”

Her neck smells of incense, her body writhes with hope.

Pain, in her eyes, in futures she sees. Wine, on her lips, sacrificed blood of her innocence.

Dionysus knows her. She is mortal.


VIII. ACT TWO- Confrontation [scene 5: Comforts]

DIONYSUS WATCHES, dances and laugh into a listening night.

He is a god, he knows, and these are his worshipers. 

The words slur out, drunk with love and ripe with wine: 

                          “You are all I’ve ever needed.”

IX. ACT TWO- Confrontation [scene 6: First thoughts]

The night is a lost concept.

The day is a halo rising, a crown on gilded hair. 

Dionysus couldn’t tell how he got here but nector rests on his lips. Hard knuckled hands glide out word. From this angle: the god is blinded, he cannot see. “A Poem.” he is told. He is not the muse.

 At this table. In this light.

Words wash over him, warm as cascading light through the window. 

Dionysus can already feel his heart breaking.

X. ACT THREE- Resolution [scene 1: audience]

She watches him. She watches everything. Her teeth, her mind,  her eyes, her nails are sharp. 

She ghosts soft silver over wood forest floors.

“My brother is a god of poison and disease.” Her teeth glimmer white.

“He is not good for you.” Her voice comes out throaty and soft. 

“You are a wild animal. And he loves to hunt.”


XI. ACT THREE- Resolution [scene 2: Drink, maybe]

Nights like this:

Loud with silence. Loud with thought. Life eats him raw. And wisps of almost memory curl tight in his mind with rebuke.

He is unstable. Unstable is he.

XII. ACT THREE- Resolution [scene 3: Next time]

Dionysus sees him across the room. Gold glints off bronze, even through the dull of lost souls he burns bright.

Dionysus kisses the lips of his bottle and drinks to drown.


anonymous asked:

au where instead of being nearsighted jason is slowly going blind

  • Jason could have sworn he got his lenses changed two months ago. Everything was blurry again and it wasn’t helping him with his training.
  • Piper noticed when he started talking to a tree, thinking it was her. 
  • They went together to the eye doctor and he was shocked how fast Jason’s eyesight changed. 
  • He got new glasses but two months later everything was blurry again. 
  • The eye doctor told him that at this rate, Jason could go blind within a year and a half.
  • That news brought him down. 
  • He would eventually never see how beautiful the sky was, especially at sunrise and set. How beautiful Piper was. He would never see the faces of his friends again.
  • Every two months he would get new glasses and soak up everything he could. He appreciated how beautiful everything was and he examined every detail so he wouldn’t forget.
  • One morning he woke up, thinking the lights were still out. He stumbled around cabin one at Camp Half Blood trying to find a light. 
  • He found the light switch and kept flickering it on and off and nothing happened. 
  • He was pissed. He couldn’t see anymore. He shot lightening through his cabin and created a mini tornado that ripped right through it.
  • Piper found him sitting in the middle of the floor, crying.
  • She went over to him and hugged him tight, promising that everything will be okay.That she’ll be his eyes.
  • He just cried harder, knowing it will be hard to start depending on other to help him now that he couldn’t help himself.
Pop punk problem #48

When your mom tells you that you eat too much pizza:

“Shut up mom you don’t know me!”

*Grabs pizza box and phone, climbs onto roof, listens to Neck Deep and wonders why you’re still stuck in this damn town*

Space Doesn’t Burn Red

2 parts, 2700 words total (also on ao3)

Part I. Taako thinks about how much he loves Kravitz

Part II. Taako tries his damnedest to parley this information to Kravitz

Part I.

“I love you.” The words taste foreign and almost dry on his tongue, and he’s thankful he’s speaking them in practice to his reflection in a mirror and not to his actual boyfriend. “I’m in love with you,” he tries once again with feeling and comes off a little less ham-fisted but no more confident than before. “Kravitz, I think I love you.” Still blunt. Still hard. Still unnatural.

How do people do this? How did Merle do it – how did Magnus do it? How did Carey do it? It’s got to be easier than this, right?

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