too many damn names

5

MANGA SPOILERS

How are you two so bad at this.

In this scene, we have embarrassed outrage covering up a true motive, honesty so misleading that it encourages the worst interpretation possible, blatant lying, and a thunderstruck realization that this conversation has somehow gone very badly, but not badly enough to be worth clearing things up.

By golly, it’s glorious.

I love this scene and everything it chooses to be. Ymir argues for Krista’s safety. Kristoria notices and calls her on it. Ymir strongly objects. Kristoria rightfully points out that if she’s wrong, Ymir has no reason to stick around. Then self-esteem issues the size of Wall Maria (and about as functional) pick up and Kristoria asks the direct question: Is Ymir bothering with her because of her family?

Yes, of course she is.

But don’t worry, it’s not like, a service thing; Ymir’s exactly where she wants to be.

The beauty of it is that Ymir is attached to Kristoria because of her family. She joins the army looking for someone who’s known the exact same pain she has, and she finds Krista. Krista, who never would have existed without her wreck of a family.

Everything Kristoria has lived through calls Ymir to her, and that’s so much easier to say than that Ymir cares for everything she is.

But that isn’t what’s communicated. On Kristoria’s end, all she hears is that the person closest to her is only sticking around because of her blood. It’s entirely by choice, but she isn’t there because she likes her or anything.

So Krista comes out to play, and lies about how okay that is with a smile.

Now for Ymir to feel really guilty and offer any kind of clarification to make things better never.

*~romance~*

A,B,C or all of Above

Signs of Trauma

Written for Killervibe Week, Day 6 - Future

Well, this is extremely near future, but it’s still future at the moment. Earlier this week, I woke up with this concept in my head and thought, Awww, that shouldn’t be too hard to write. I can knock it out in about 500 words.

2.5k words and no fewer than three rewrites of the ending later: Fucking hell.

It’s also a loose sequel to Forgiveness (you can’t imagine) so there’s that.

Signs of Trauma

When Cisco opened his eyes, the first thing he saw was Caitlin sitting at her computer.

He was always shocked by her pale hair, even though he’d been looking at it for two and a half months now, ever since she’d come back to Central City. It always seemed as if she should be able to shed it like an unflattering wig and be old Caitlin again, dark reddish hair and no powers at all.

But she couldn’t, of course. This was who she was now.

Keep reading

  • Teacher: *taking roll*
  • Teacher: Kuro Honda?
  • 2p Japan: here.
  • Teacher: Allen D. Jones?
  • 2p America: WASSUP
  • random student: what does the D stand for
  • 2p America: *smirks*
  • 2p Japan: don't
  • 2p America: it's D for Daniel
  • 2p Japan: stop
  • 2p America: AS IN-
  • 2p Japan: shut up
  • 2p America: -DAMN DANIEL

I Want You Babybird by xxsweetgrassxx

One Night Only Dreamgirls // We Own The Night Matthew Morrison // I Dreamed A Dance Next to Normal // A Part Of That The Last Five Years // You Can Do Better Than Him Bonnie And Clyde //What You Mean To Me Finding Neverland // I Am Changing Dreamgirls  // Fight For Me Heathers: The Musical //  This Never Happened Before Bonnie And Clyde // Something To Believe In Newsies // Dangerous Game Jekyll & Hyde // All This Time Count of Monte Cristo // Nobody Needs To Know The Last Five Years // Hopelessly Devoted To You Grease Live // History Is Made At Night Smash //  I Imagine You’re Upset Bat Boy // First Date/Last Night Dogfight // Beggin’ Jersey Boys // Light My Candle RENT // Seventeen The Heathers // I Want You Baby Dreamgirls // You and I Bare: A Pop Opera // As Long As You Are Mine Wicked // In His Eyes Jekyll & Hyde // Our Love Is God Heathers: The Musical //  The Point of No Return Phantom of the Opera // Youre The One That I Want Grease // The More You Ruv Someone Avenue Q // Fallen Angel Jersey Boy

{LISTEN} {ART}

More In The Series: {Dick} {Bruce} {Steph} {Damian} {Tim} {Jason} {Gotham Villains} 

anonymous asked:

does historia know about ymir's true feelings? she seems like she's oblivious to them

Friend, Historia’s best determination of her own feelings is, “I don’t know how to explain it…”

Her response to Ymir’s dramatic deathbed confession, dubbed a love letter by the crafter, is, “How am I supposed to understand like this…?”

Historia is the worst at romance.

Except not really, because that wouldn’t be giving Ymir’s failures enough credit. Ymir lets Kristoria get away with believing that Ymir doesn’t care for her because correcting her would involve way too much emotional vulnerability. Any direct reference to her feelings is carefully constructed so that if you have zero self-esteem and sense about relationships, it could be misconstrued as a joke.

They’ve created this mutually hopeless style of communication where one has the freedom to be completely honest with no emotional risk because the other, quite literally, will not get the point even if it is hand-delivered in writing.

Connie, he of the most insults directed at his intelligence, has to explain to Historia that maybe, just maybe, Ymir doesn’t have a huge interest in sacrificing her to save her own skin.

It’s incredible, but the person who has three years of life devoted to inspiring specific emotional responses in others (and besides succeeding, goes on to uses those skills to take the throne without causing a fuss) does not understand emotions when they fall around her personal experiences.

Historia grows up internalizing the concept that she’s wholly unloved (part of why Frieda makes such a splash when she remembers her). So she can look at some of Ymir’s actions and immediately understand that Ymir is fighting for her and their comrades, and know that she and Ymir know each other better than anyone else, and believe that living for themselves involves the two of them living together–

–all while letting the plainly obvious truth completely pass her by.

They are both terrible at this.

My thanks forever for another chance to discuss it.

imagine like a Falconers Face-off thingy where it’s one of those quickfire round of questions like:

interviewer: who is grumpiest in the morning?
Falconers: Guy
Interviewer: who eats the most?
Falconers: Tater
Interviewer: who spends the most time on their phone?
Falconers: JACK

which Jack finds odd because he’s never really been like attached to his phone much before but now he’s constantly texting or calling Bitty and the reality sinks in like ‘oh, i haven’t been subtle at all’

Falconers: We know what he’s really up to
Falconers: Little Jackie’s in lo~ve
Falconers: Shows on face
Interviewer: is that true, Jack?
Jack: *groans*

FIRST SPOKEN WORDS- The Lunar Chronicles Edition
  • Cinder: It's not like wires are contagious.
  • Kai: I'm sorry. I didn't realize anyone was back there.
  • Iko: Cinder! I've got it!
  • Scarlet: Accept!
  • Wolf: Thank you.
  • Thorne: I'm sorry. It seems you've stumbled into the wrong jail cell. Do you need directions to get back to yours?
  • Cress: Hello?
  • Jacin: I don't suppose you killed her?
  • Winter: My Queen?
  • Bonus: Queen Levana: My dear Prince Regent, may I be the first to offer my condolences on the loss of your father, the good Emperor Rikan. May he forever rest in peace.
  • note: they're in order of appearance, not when they spoke first in their respective books
3

MANGA SPOILERS

This is always going to be one of my favorite scenes.

When I first read the manga, I decided that Krista was my favorite character the second I saw her. In a series wrought with horror, she was the tiny moe one in the top ten. I spent my entire binge read hoping that she’d get an awesome story to go with that contrast.

Utgard is my favorite arc in the entire series, and more favorite aspects of it are incoming, but this is the moment that makes all of the future ones for me.

Attack on Titan is a series about humanity’s pursuit of freedom–of life, essentially. Our Heroes fight desperately for it, laying down their own lives for the greater purpose of humanity thriving. Their deaths are always, always tragedies, and they litter the setting.

Kristoria, as defined here, is the character who can’t see the tragedy of her own death. Her happy ending isn’t an ocean, or a world without titans. Her happy ending is mattering, and she’s given up on life providing that.