this feels too far

preview || love me, love me not

Originally posted by jkguks

→ pairing: jungkook x reader
→ genre:  producer&composer!oc au & extreme angst
→ words: 220
→ warnings: none
→ summary: “Love is a beautiful thing,” said no one ever.


Love is a beautiful thing.

It’s like taking a breath of air in the ocean. An unpredictable, yet exhilarating thing. With each breath you take, you won’t know what will happen. Will your lungs fill with life or set on fire? The risk of falling too deep—too far into your feelings—and giving your heart to someone who wouldn’t take it was dangerous, and yet, everyone did it every day. Walking over fire to serve their heart on a silver platter to someone who may never reciprocate their feelings.

It was silly, but it was also enchanting.

Love is falling and falling until finally, you’re caught. You’re tucked into the warm embrace filled with devotion, promises and so much more. It’s the feeling of being safe and adored, and you know that nothing could make you happier than being with them.

But what people forget to mention is that love could also be dreadful, and the worst thing you could and would ever encounter.

Sometimes, you don’t get caught. Sometimes you realize everything is nothing. There’s a web of lies and you’re in the middle of it trying to figure out where it went wrong. And that’s when you realize: it was never right in the first place.

You weren’t breathing in the ocean.

You were drowning in it.


this is something i randomly started working on today and now im really excited to post it! it was supposed to be a small blurb thing because i wanted to stick away from my big projects, but then i made the plot too good to just leave it as a blurb, lol. anyways, i’ll hopefully post the full thing soon. hope you guys enjoy it!

luv spde

anonymous asked:

Do u ever feel like some blogs just go too friggin far with the discourse. Like I understand we should read critically but I've been following this one blog I usually like and for the last few weeks they've claimed hp I had p much every racist stereotype (and called it gross) and that it's pretty much every type of phobic and they say these things so flippantly whilst stating so certain that they are awful as if JK sat down to write a white supremacy novel like??? (I'm a POC - for ur context.)

I think it’s very important to be critical and discuss the flaws of the works we enjoy, but i’m really uncomfortable with people demonizing the creators, especially if the flaws stem from ignorance and not intent. There are some racist tropes in HPverse, the representation of the characters of color is in no way perfect either. I’m also not happy about the LGBT representation, and have problems with the way some other stuff were handled as well. I can’t deny that there are some issues that needs to be addressed, but i also can’t support villanizing and bashing an entire series. There is so much more to enjoy in this verse than its’ flaws, that’s essentially why we’re all still here after all these years! The discourse culture in tumblr is rapidly descending into a black-and-white mentality where something is either the best or the worst. I think what you saw was an example of that.
Lastly, i think there’s an important distinction between hating something and hating on something. I respect everyone’s liberty to dislike anything they like, but attacking people who like it and the creator isn’t the right way to do that. If you think JKR is wrong or being offensive about something, you can either a) stop interacting with her and her work, b) discuss it civilly with other people in the fandom, c) use online platforms to educate her and other people (e.g., fan articles), or d) salt about it with your friends to relieve your frustration.

10

Anyway, I hope you understand. And to those with my phone number, I’d appreciate it if you told me how you got it so I can stop it (11)

from happening again in the future. To be clear, I won’t be reacting to or reading any more Katie related tweets. Sorry, but that’s (12)

The way it has to be. And to the girl who texted me, Just to reiterate, message me again and I’ll put your name here. #NotJoking (13)

And to all the brill fans who know the difference between reality and television, take care and thanks for the nice chats. #ByeBye (14) -Rudhraigh McGrath (Katie’s brother) (x)

anonymous asked:

do you have tips on comic compostions and angling/framing of scenes beacuse holy fudge what the actual hell your mob comic is An Expirience

hhhhhhhhhhhhhhhhhhhhOOOOOOOOOOOO BO Y AIGHT

I’m gonna take this ask as a chance to masterpost about this comic.

Since there wasn’t a set time limit for this comic, I went all ham for it, which means there’s a lot of thought about angles/framing n shit in this sumbitch. (keep in mind i’m still learning this craft myself as i go along so FEEL FREE TO IMPROVE WHEREVER)

I’ll go in depth about it but all of my tips can be summed up with : 

go for the emotion of the scene.

Everything I do, I do to try and heighten the feeling in a scene. Everything I’m about to describe were all choices to try and maximize the emotional impressions.

Angles 

First off, everything in this comic (with the exception of panels 7-9 on page 4) is from Mob’s POV. Everything is built from there. keep in mind goin forward -

We start with Mob terrified of being spotted, of running into anyone. So I strained the perspective to make it feel too close for comfort, despite how far away his other limbs are. I also used the angle to emphasize the “spotlight”, pushing Mob into further discomfort, like he’s being watched anyways.

Mob fears he just murdered someone ? At his lowest moment in this comic? This is where the camera looks down on Mob the most.

Time for shock and awe that the man’s alive ! So Reigen is angled UP, building his Bigness in Mob’s eyes. Most subsequent shots repeat this, keeping us grounded in Mob’s perspective.

Here, Mob is literally on his knees asking for answers. So I pushed for an angle to make him seem really tiny. I wanted him to look as small as he feels.

In the next few pages, the angles basically level out (and I’ll talk more about why in other sections***) until

Mob has just touched back. This was a direct action on his part, so just as I’d built Reigen with that tilt up, it’s Mob’s turn to share that space.

Once Mob fears for the lives of the police, we shift back to high angles. Using a high angle to make a character seem small isn’t groundbreaking but it’s something to chew anyways.

This is less about the angle and more about how cramped everything is. Mob feels backed into a corner unless he can get Reigen to relent. So the tightness and how Reigen looms reflects this.

And here, I mirrored the very first panel. Once again we have a shot of Mob’s back, walking into the light of a streetlamp. But this angle is gentle in comparison, even if slightly off center. We can see where the light comes from so it ceases to feel less like an omnipotent threat and more mundane. Perhaps even hopeful.

Paneling 

I’m sorry to say I feel this is one of my weak points as a creator. I’d like to improve here the most. Most of my panels can be summed up with ‘slant = energized’, ‘straight = stable’. BUT. I did take a few liberties here and it’s good to point them out.

Broken glass to heighten the ouch on Mob’s part.

Salt man don’t give a fuck. he IS the panel. //adds to the energy of this moment

This break from the panels is meant to make Mob hitting Reigen a more immediate threat.

Same with Reigen reaching around it here. He’s still in danger of being shreddy shreddy at this point.

Sometimes a panel will bleed off, to give a more ‘open space’ feel. I like to use it in subtle “oh” moments. That’s the best I could describe it.

annnnnd nothin like a casual reminder on the edges of panels about what would happen should the police show up.

Staging/Body Language

Once Reigen shows up, he dominates the frame, even in shots where mob is closer to the audience. Again, this is all to emphasize how Big Reigen seems to a scared Mobbu.

Mob pushes himself to corners, Reigen’s given the bulk of the space. 

He stands taller than mob and makes the frame uneven.

Even his hand feels huge in comparison.

***That is, until Reigen has a better perception of what’s going on.

Then his actions and staging reflect this.

Reigen kneels down, trying to make himself smaller both to Mob, and in the frame.

The staging reflects Reigen’s attempts to get on even ground, literally and metaphorically.

Mob’s still pushing himself into corners, but now Reigen has actively surrendered some of the space.

Still just, trying to get some of Mob’s perspective.

And from this point onwards, Reigen and Mob share the space/frame more evenly. 

Even in shots where Reigen’s kinda large, he no longer seems so imposing.

Mob still looks up to him but we no longer have such dramatic shots tilting him up and having him hog the focus of the panel.

And we save the closest-closeup, both in staging and in how close our characters physically feel for last. Because bonding and shit.

Coloring

Decided to make the use of color sort of uncomfortable. Hinted at in edges but not really a presence of their own. Hard to tell what the color of anything is because it’s all nonsense in ur peripherals.

Until we get to humans. But this color seems more invasive, and doesn’t really touch mob in a positive way.

Till we get to these splash of color, messy and kinda unorganized but it’s exactly what Mob needs to bring some order.

From here we get a muted color wash, there but still slightly dulled.

The first hint we get of the saturation to come is centered around the touch.

We slowly fade into full blown saturation once Mob reaches back.

Fanfic bonus

The name meanings of Jun and Tetsuo, since this is the street where they live and why not ahaha.

There’s a lot of bird imagery in ABoT so I

“Kid, it’s like lifting a feather.”

And even tho Reig gets a cool halo from the streetlights n shit

We all know who the real angel is

Other fun shit

Mob’s outfit is based on Sakurai’s outfit when he was orphaned as a child.

I literally put the streetlight directly behind the hand in this shot because I lack subtlety and love it.

There are 2 times where I cut out a bit of (frankly beautiful) wordage in order to show things better visually. Both times happen when Mob’s stopped paying attention.

First with Reigen’s words just becoming a flood of nonsense pretty sounds.

The second when Mob’s thinking about the possibility of his barrier being gone.

also here u guys can have some behind the scenes shenanigans

thefallinggame  asked:

Anzu and Yuugi working out makes me think of Jou and Honda hauling Yuugi off to the gym and trying to get him into weight lifting XD

Honda your military is showing.

[full size]

Some things I want to see happen in Wizard101
  • Sitting and laying animations.
  • More humane animations in general.
  • The ability to change our characters expression and not have it permanently implanted onto our character (FOR THE LOVE OF GOD I WANT TO REMOVE THAT MURDEROUS SMILE ON MY CHARACTER)
  • The ability to change our hairstyle and hair color. We’re WIZARDS for pete sake, why not just use some magic to change our hair or even our skin color?
  • A bit more diversity between our characters (More hair choices, more freedom with eye color, possibly even height changes or birthmarks.)
  • Possible graphic upgrades. People normally get turned away from the game due to Wizard101 looking like a Nintendo 64 game in 2017 and that just kinda makes me sad because it is a great game.

Most of these are just things I’ve came up with right now, but feel free to add onto the list!

be more chill but it's kidzbop

i’m waiting for my flash games to load
if my cred was any smalllerrr it would be totally gone
my little heart was so depressed it was so lonely
it’s from japan, it’s a gray oblong candy (dOnt DO DRUGS KIDS)
what did we say about online gaming
i tally every time you use an emoji
we have to drink juice in my basement!!! wish i stayed at home in bed watching television
rich set a fire and nobody was harmed oWHOAAAA
that boi is flacked
oh i meant far too crazy did i say flacked!!????!

i feel like this needs a part two

10

ladies meme ☆ (5/5) lady romances - willow rosenberg and tara maclay

even when i’m at my worst you always make me feel special. how do you do that? magic.

A rare snake-related post by me-

I have had Vision, a dwarf BCI and my youngest snake, for roughly 9 months now. He will be a year old in July, so by snake standards he is still very much a baby. In the past 9 months, he’s gone from, for lack of better words, a bitey defensive asshole to a relatively passive and trusting creature who simply has Rules ™ on how, where, and when he can be touched. I used the same method to produce these results as I do with all of my reptiles, including my young snake of a notoriously aggressive and defensive species (Amazon Tree Boas) and have frequently been asked how I manage to get these animals that instinctively bite first and ask questions never to allow handling and pictures without drawing blood.

On my dog blog I’ve mentioned the concept of body autonomy a few times in relation to training dogs, and how it crosses over into husbandry in other species. In these posts I’ve detailed how I tame the larger birds at my job, how I teach my snakes not to bite me when I take them out, how I can successfully convince a thrashing dog to accept grooming without a fuss, how I teach cats to not turn into screaming demons for nail trims, and more. I also cover this in many of my dog training lectures at work as my students teach their dogs to allow grooming, nail trims, and medically related handling to prevent injuries and incidents when interacting with these animals. All of this relates back to body autonomy, and how we as humans have consistently ignored other species’ instinctive need to be autonomous.

I am no master animal trainer and do not play one on TV. I train pet dogs and service dogs and have begun to venture into competition, at one point I specialized in rehabbing aggressive and reactive dogs. I have trained various common pet animals in occasionally unconventional ways to do things that make life easier for the both of us, but I don’t claim to be anything special, because what I’m doing is not all that special. It is, however, uncommon for people to make these considerations with their pets and then they call in someone like me to fix a problem that didn’t need to start in the first place.

An example being: frequently on this website and others, the solution for convincing a biting snake not to bite you is to hold it still until it stops biting you. The snake will learn that biting you does not produce the desired result (you letting the snake go or putting it back in its cage) and thus will eventually stop biting you when you pick it up.

In the dog training world, we call this flooding and learned helplessness. It “works” because it produces what we wanted it to. The snake no longer bites when you pick it up. But it failed to address the root of the problem, and frequently if regular handling is not maintained the snake will return to biting you every time you touch it. The snake had learned that there was nothing it could do in order to make you stop doing what it didn’t like, and so had learned that it was helpless against the much larger human. The snake in this situation still doesn’t really want to be handled, it is merely tolerating it because it sees no other option.

While snakes have a much more primitive brain than dogs and thus a much more limited scope of emotions, aggression and violence are always expensive measures to use and thus are frequently considered last resort measures to make an unpleasant situation stop. They are costly in body resources- they take large amounts of energy, stress, and time to resolve, and wounds obtained from violence can become deadly with infection or severity. As a result, a bite should always indicate that whatever you are doing is so unpleasant to the animal you’re doing it to that they’re willing to risk their life in order to make you stop. The common pet snake knows it cannot win against an animal as large as a human. It is hoping you have not come to the same realization, and will not call its bluff.

This creates a problem. Like with dogs, backing off from a situation that is required after a bite will teach the snake that all they have to do to get you to leave them alone is to bite you. If I need to trim my dog’s nails, give him a bath, brush him, or have him examined by a vet, sure I could put him in a muzzle and force him to do it anyway, but it is counter-intuitive to teach him that all he has to do is bite me in order to get out of doing those things he may consider unpleasant. I need to be able to handle my snakes. This is not negotiable, just like the above things I do with my dogs are not negotiable. If I cannot handle them, I cannot check them for injury, disease, or distress. Backing off because my snake, or dog, has threatened to bite me is thus not a viable option. I must be able to complete the task, and the animal in question must let me.

Dogs, by comparison, are relatively easy to convince in this problem. I need to be able to do my dog’s nails. If I give him amazing treats on a good reward schedule, shower him with praise, listen to his body language to give him a chance to calm down and destress before pressing on, and remove my own negative emotions from the equation, he will learn to let me do his nails and even offer the position required for the task within a relatively short amount of time. He does not have to like having his nails done, but I can convince him to like he benefits he gets out of it. Cats and birds and small mammal pets like ferrets, rabbits, and rodents may be slower, but follow much the same way.

I can’t give a snake a treat. That’s not really how snake digestive systems work. I can’t give them a toy. I can’t give them praise. The subtleties of snake body language are much harder to read due to a lack of eyelids, ears, and limbs. Dogs, cats, birds, ferrets, all of these are social creatures that practice social bonding and feel an emotion similar to love (in the dog’s case, actually do feel love). Snakes are not social creatures and their brain is not capable of producing the chemicals involved in the emotion we call love. I cannot convince a snake to love me or to like being handled. That is not something their biology is able to do. Does that mean I have to rely on flooding and learned helplessness in order to get them to let me handle them?

I keep stressy species. While all reptiles are more than capable of stressing themselves to death, my current list of exotic pets includes a special needs ball python with a severe neurological condition, a brazilian rainbow boa specifically purchased from someone who breeds minimally stressy snakes because he got tired of the species’ reputation for being bitey assholes, and a dwarf bci locality (read: like a subspecies, but not different enough to get their own scientific name) known for being defensive bitey assholes. Previously, I had a special needs corn snake that was a defensive bitey asshole, an amazon tree boa that was remarkably handleable despite the species’ reputation for being aggressive and defensive bitey angry assholes, and a few foster ball pythons that came from neglect situations and had never been handled before leading to them being defensive bitey assholes. Stress is common in situations where aggression or violence is utilized, even if it is being utilized by the animal and not the human. If the stress from moving can kill my beloved ATB Hydra, why would I intentionally expose him to situations where he would feel required to use violence again and again until he learned that that was not a way out of the situation?

I did not flood my snakes. I hold them. They do not bite me. It has been a long time since any of them have even struck at me, and the majority of the bites and strikes I have received have been from when I was learning the snake in front of me or from me intentionally ignoring their body language and handling them a way I knew they didn’t like for whatever reason. Snakes do not bite without cause. Whether you, a human, can see that cause or not, snakes do not bite because they are vindictive or mean. As said, their brains are far too primitive to feel such complex emotions. Even wild snakes do not bite without provocation- whether you intentionally provoked them or not does not matter, simply whether they felt provoked enough to need to defend themselves possibly with their lives.

Vision came to me unsure of my intentions and of whether I could be considered safe. He certainly didn’t believe I should be picking him up. At two months old, the world is a scary place to a baby snake where nearly everything is bigger than you and nearly everything wants to kill or eat you. I do not blame him for doubting the warm giant cooing over him with grabby hands. To him, I’m sure I am some baffling mixture of hawk, bear, and wild canine. All of these things readily kill and eat snakes, all of these things may be persuaded to not kill and eat this particular snake if he bites them.

Instead of picking him up and allowing him to spend precious resources stressing himself to the point of repeatedly biting me- which hurts, by the way, so I don’t really want to be bitten any more than I need to be- I allowed him to show me things about him. I let him show me what he does when he’s nervous, when he doesn’t want to be bothered. I let him show me what he does when he’s curious and feels like investigating what’s in front of him. I let him show me how he does and does not like to be touched. Like many snakes, he seems to enjoy being scratched lightly under the chin. Like many snakes, he doesn’t seem to appreciate being tickled on the stomach. He prefers to create a “foot” about 2/3 down his body and use it as an anchored perch when exploring my hands. He does not want his tail to be touched. When he is nervous or unsure of potential danger, he will retract and coil himself into a loose ball. If pressed before he recovers, he will “expand” the “ball” quickly and vocalize. If he continues to be pressured, he will threaten to bite and will begin to try. If he is allowed to relax, he will recreate his “foot” and resume quietly investigating his surroundings.

Today, I took the lid off of his enclosure and lifted him out without a fuss. While this is not a first- we accomplished this task about 4 weeks in- only in the past few weeks has he not immediately retracted into his loose ball and required me to wait a few minutes for him to relax before touching him. Instead, he immediately made his “foot” and began to investigate, leaned against my finger as I scratched his chin, and maintained his confidence throughout the time I handled him. Sure, I could possibly get a similar result through the first method of flooding and teaching him that he is helpless against me, but I don’t need to. I can get a confident content snake that is not only tolerating my handling but also showing curiosity and intelligence without forcing him to accept my hands as things he has to deal with in his life.

The people espousing these methods always ask me how I managed to take such nice, interesting pictures of Hydra without bleeding- or joke about how much blood they think I lost inbetween shots- and are always surprised when I tell them that I don’t get bit because I understand a snake’s need for autonomy and allow the snake to tell me their “rules” for being touched and then follow those rules or understand if I break them I will get bit. As a result, I don’t break their rules unless I have to, and thus I don’t get bit unless I have to. This allows me to handle and investigate my snakes, look in their mouths, check their vents and between their scales, touch their heads, and rescue them from fluke accidents such as Quetzal’s injury with his decor without the snake taking their frustrations out on me. It also allows me to take some pretty pictures of them outside or on props without worrying how I will retrieve them without being bitten when I’m done. 

4

22 years ago today (1st February) Richey Edwards disappeared, on the day he was due to start an American tour with his band, the Manic Street Preachers. He was never found again.

A Good Brother

Since he was a little boy, Charles Weasley saw Voldemort as his personal boggeyman. Even if  he’d never met the man in person, little Charlie was terrified of that person who’s name shouldn’t be said that made his parents sad and angry. He would ask every night for his  parents to check under his bed if he wasn’t there. The idea of a mass murderer hiding in his son’s room always started an ugly laughter in Arthur Weasley’s throat. But every night, he complied and assured Charlie he was safe and had nothing to fear. It was a lie of course. They both knew it.


Charlie knew he was right to be scared when he was eight and he saw his mother cry for the first time. He entered the kitchen one morning and saw her curled on her chair, a piece of parchement resting on the table. Charlie sneaked in to try and read the paper. His first fear was that something happened to one of his brothers. Because that was what his dad and mum often talked about when they thought Bill and Charlie were asleep. The words were small and complicated, but Charlie could decypher two names, Fabian and Gideon. His parents hated lying to their children, so they told them that their uncles were fighting You-Know-Who and died.  They didn’t say they were killed, but Charlie kind of understood that. He wasn’t sure what death really was just yet, but Bill told him it meant he would never see his uncles again. When he saw the twin caskets, a couple days later and watched them disappear in the ground, Charlie cried. He didn’t make a noise, because no one was talking, and you’re not supposed to be loud if everyone else is quiet. He simply gripped Bill’s hand and followed him around. For years, Charlie would dream of twin caskets in which his siblings were resting.


At school, Charlie was gentle and popular enough that people didn’t make fun of him if he ever got surprised crying because he was missing his brothers and sister. They would simply go look  for Bill, and later Percy, and either would comfort him and help him write letters home. Charlie was terribly bad with words and never knew how to get his thoughts across. In return for his letters, he would get drawings and pictures. He kept them preciously in his bedside table.

When he was thirteen, Charlie kissed a girl. She was pretty and smelled nice but even he didn’t feel much. There was no butterfly or firework in his belly like he’d been told he’d feel. At sixteen, Charlie kissed a boy, and though it was nice enough too, it wasn’t special enough to have him wanting to do it often. He’d learned about dragons the previous year though, during a class of Care About Magical Creatures. That lit his eyes up and made him daydream far more than any kisses could.


Charlie left Hogwarts the summer before Ron entered it. He left home in August, and headed to Romania to study dragons. He’d already read every book from the Library and was ready to meet people who’d understand his passion. Charlie made friends, and was teased for chosing a hermit life  in forests with giant lizards over becoming a Quidditch star. He didn’t mind, because at the end of the day, he got to see dragon eggs and share hot cocoa with his colleagues. The highlight of his year was still when his parents and sister came to visit. He also managed to get Bill to drop by. They got drunk and Bill listened to him cry about how much he missed all of their siblings. Charlie kept the drawings and photographs in a tiny box in his trunk. When spring came around and he received Ron’s letter asking him to smuggle a baby dragon, all his friends exploded in laughter and were ready to go before he even finished his explanations. They already knew Charlie would do anything for his siblings.


Charlie wasn’t there when Ron got hurt saving the world at the end of his first year. He came back for summer and bought Ron as many candies as he could eat. Sometimes, being a good brother is in discreet celebrations.

Charlie wasn’t there when his baby sister got possessed and left for dead in a mythical chamber. When summer came and Ginny left school, paler and more silenced than ever, Charlie kept a vigilant  eye on her. He didn’t go back to Romania for months. And when Arthur won the Daily Prophet Grand Prise Galleon Draw, Charlie was the one to suggest they should all go visit Bill. Sometimes, being a good brother is knowing your presence and a change of scenary are the best medicine.

Charlie was there when the Death Eaters attacked supporters celebrating a victory - or drinking the bitter taste of loss away. He went to fight alongside the Ministry to protect his siblings and everyone who needed it. He also stayed the rest of the summer in the Burrow. Sometimes, being a good brother is making sure your siblings and their friends have an open ear if they need to talk their fears away.

Charlie wasn’t there when Harry, his adopted but estranged sibling, watched Voldemort come back from the dead. From Charlie’s childhood nightmares. He learned about it in one of Ginny’s letters and got his worst burns when her words resonnated in his head as he was tending a dragon. In his head, Ginny had that same terrified voice as when she was twelve and asking him if Tom would come back. Charlie felt like he’d been lying to her for years, telling her she was safe and had nothing to fear. That Tom would never come back. Sometimes, being a good brother is forgetting how life doesn’t always follow your hopes.

Charlie wasn’t there when his father got attacked by an evil snake. Charlie wasn’t there when Dumbledore’s tiny army raided the Ministry. He came back to see the greying hair on his father’s head and the scars on Ron’s arms. Ron laughed it off. Charlie cried it out. Sometimes, being a good brother is shading tears other people won’t cry.

Charlie lived in Romania. He loved it, loved the people, the country, and above all his job. But when Charlie came back to Bill’s comatose and broken face, he considered never leaving again. Bill had always been his best friend, his safety in the chaos that was their family. Charlie hugged Fleur and helped her chose her wedding dress. He was Bill’s best man and joked, more than once, that Bill was actually the best man he knew. The three of them got drunk at a pub a few miles from the Burrow and he recalled every embarassing moment of Bill’s childhood. Sometimes, being a good brother is making your sibling blush and hit you in the face as their fiancée is bending in laughter and coughing beer out of her nose.


Charlie wasn’t there when Fred died.

Charlie was there to see his mother cry and his brothers collapse.

Charlie was there to see Ginny stand, tall and proud and clutching Harry’s hand so she wouldn’t get lost.

Sometimes, being a good brother is knowing that there are days when you can’t be the good brother.



Charlie was there when Victoire was born.

Charlie was there to see Bill cry and his siblings scream.

Charlie was there to hold the tiny baby and let her grip his finger.


Charlie was there when Ginny wrote that she was pregnant and wanted to see him. Everytime.

Charlie was there when Fred II asked to learn how to fly and neither George nor Angelina had the heart to teach him.

Charlie was there when Lucy got in another fight with her parents and needed a place to let her anger out. He was also there to bring her back home and make sure she’d apologize to Percy.

Charlie was there when Hugo felt inadequate and lonely in their giant family.

Charlie was there to talk about kissing boys and girls, about how sometimes people liked it and sometimes they just didn’t care.

Charlie was there to give pets as presents, as siblings and in-laws pretended they didn’t know about it.

Charlie was there every step of the way in his nieces and nefews’ lifes.

He quickly needed a larger box to gather all the drawings and pictures he kept receiving. (Hermione gave him an enchanted one)

Sometimes, being a good brother is being a good uncle.