un dead

Things that are Known and Accepted in the ARMS universe but never Questioned:

  • There are ninjas and a Ninja College/University
  • One ninja decides to join an international sports competition as his Senior Project
  • People aren’t born with ARMS but instead just ‘wake up’ one day and have them
  • One boy decides to join an international sports competition after he wakes up with them and says “I was shocked at first, but they’re pretty rad.”
  • Nobody knows where ARMS originated or why people get them and any attempts at trying to figure it out are thwarted by an invisible force
  • An international corporation accidentally creates a synthetic being while trying to solve this mystery
  • The synthetic being decides to join an international sports competition
  • A long dead man wakes up as a un-dead mummy
  • The un-dead mummy decides to join an international sports competition to try and find his lost (and assumed also dead) family
  • There are security bots that have robot dog companions
  • A security bot and his robot dog companion decide to join an international sports competition as a single fighter and it’s allowed
  • An A-List actress decides to join an international sports competition using her hair as ARMS
  • Snakeboarding
  •  A Snakeboarder decides to join an international sports competition that isn’t Snakeboarding to increase the viewership of his live-streams
  •  Snakeboarding live-streams
  • A young girl genius builds a mech-suit for the purpose of joining an international sports competition like her favorite pop-star idol
  • One of the competitors in an international sports competition is a pop idol singer
  • A girl with noodle ARMS decides join an international sports competition to promote her parents’ ramen shop 

Clem has survived all by herself for days after her babysitter died when she was 8.

Clem, after just seeing her un-dead parents, managed to drag a grown ass man to safety at 9 years old.

Clem sewed up her own arm with no assistance while locked up in a shed. Something most adults wouldn’t have the balls to do

Clem took and raised a child that wasn’t even hers like he was her own, and loved him like he was her own. Even though she had no obligation to do so.

Clem, even after losing pretty much everyone close to her, still manages to stay strong and still keeps finding a reason to fight, even when she didn’t want to. If that’s not a strong character then I don’t know what is.

Long story short, Clementine is amazing and I love her.


As we go marching, marching, in the beauty of the day 
A million darkened kitchens, a thousand mill lofts gray 
Are touched with all the radiance that a sudden sun discloses
For the people hear us singing, bread and roses, bread and roses.

As we come marching, marching, we battle too, for men, 
For they are in the struggle and together we shall win. 
Our days shall not be sweated from birth until life closes, 
Hearts starve as well as bodies, give us bread, but give us roses.

As we come marching, marching, un-numbered women dead 
Go crying through our singing their ancient call for bread, 
Small art and love and beauty their trudging spirits knew 
Yes, it is bread we. fight for, but we fight for roses, too.


Wait a second...

Most people think Will’s face is starting to turn fish-like b/c he is breaking the rules and not ferrying the lost souls like he was supposed to.

However, I believe that Captain Salazar (the new bad guy) is taking the lost souls that Will is supposed be guiding. Salazar is building an un-dead army with them and screwing up Will’s life! 

Will didn’t break the rules!
That’s why his face is messed up and why he looks so angry.

So yah, rest assured Will is still a good guy and their is hope that his face will go back to normal, lol. He’s still my fave, fish face or not!

soaked-in-bleachhh  asked:

Can you really simply break down the difference between estar and ser! I'm in my fourth year of spanish and i still don't really quite get it. Thank u.

ser is used for more permanent things, where el ser is “a being”:

  • definition / identity [i.e. saying what something is like “it’s a clock” or “it’s a bed”]
  • height
  • weight
  • hair color
  • nationality / to be from
  • race
  • personality
  • occupation/title
  • possession
  • material [e.g. es de madera “it’s wooden”]

For ser there are two really specific things that you’d never use estar for and that’s

  • telling time [e.g. es la una, son las dos, son las tres…]
  • passive voice [e.g. fue escrito por “it was written by”]

With estar you’re talking more about temporary things, looks, moods, and things subject to change like positions. If it helps, think of “station”, “stationary”, “state”, and things like that.

For the basics people say “how you feel and where you are, that is when you use estar

  • location
  • position
  • condition
  • mood, emotion, feeling
  • illness, wellness
  • alive and dead*

And the one big thing that ser is never used for that’s unique to estar is

  • the progressive / gerund [e.g. está lloviendo “it is raining”]

*While most people are tempted to see vivo/a “alive” and muerto/a “dead” as something you’d use with ser, Spanish uses estar because it’s considered a condition of the body. You would however say es un muerto “it’s a dead body” as identification.

What can trip people up is whether you’re using ser or estar with emotions and how you’re trying to be understood. The meaning changes depending on what your intention is:

Es un día feliz. = It’s a happy day. / It’s a joyous day.
Es un día triste. = It’s a sad day. / It’s a miserable day.

Es feliz. = He/She is a happy person.
Está feliz. = He/She is happy (right now).

Es triste. = He/She is a sad person. / He/She/It’s miserable.
Está triste. = He/She is sad (right now).

Es genial. = It’s great.
Está genial = It looks great.

Es espantoso/a. = It’s awful.
Está espantoso/a. = It looks awful.

For words like triste, feliz, enojado/a and so on, you’re deciding on whether you’re talking about someone’s personality vs. their mood.

Using ser makes it sound like that emotion is just that person’s baseline, while estar is saying that the person is not always like that. If you said es triste you’re more or less saying that the person always is in a bad mood or isn’t feeling happy.

The same is true of enfermo/a where you’re normally saying estar enfermo/a “to be sick” which is to say that someone isn’t feeling well. When you use ser and enfermo/a you’re more saying that the person has a kind of mental illness… or in some cases you’re saying the person is a pervert or has a skewed world view or something like that.

When it’s mal/malo or bien/bueno it’s a question of “good” vs. “well”, and “bad” vs. “wrong”

ser bueno/a = to be good / to be nice, kind
estar bien = to be okay / to be well / to be right

ser malo/a = to be bad / to be mean
estar mal = to not be okay / to be ill / to be wrong

For some adjectives, ser is identification while estar is appearance.

It can be a bit weird because you might think you should use it for something like weight which changes easily, but Spanish tends to say something like es delgado/a “he/she is skinny”, while estar delgado/a is interpreted more as “to LOOK skinny”

And there are some expressions where the meanings are just totally different:

ser listo/a = to be smart, to be intelligent
estar listo/a = to be ready, to be prepared

ser rico/a = to be rich
estar rico/a = to be delicious

ser seguro/a = to be safe
estar seguro = to be sure, to be certain

ser verde = to be green (in color)
estar verde = to be unripe

ser confuso/a = to be confusing, to be perplexing
estar confuso/a = to be confused

ser mejor = to be better (than)
estar mejor = to be (feeling) better / to look improved

ser fatal = to be fatal, to be lethal
estar fatal = to look really tired / to look really sick

ser helado = to be ice cream [masculine only]
estar helado/a = to be icy cold

You also run into some weird sexual innuendos with caliente and frío so be careful there

ser caliente = to be horny, to always be in the mood for sex
estar caliente = to be aroused

estar caliente = to be warm to the touch [said of objects, skin, body temperature]

ser frío/a = to be frigid, to be unfriendly

estar frío/a = to be cold to the touch [said of objcts, skin, body temperature]

For weather, you’ll see hacer calor “it’s hot” or hace frío “it’s cold”

But you might see un día caluroso “a really hot day” or un día frío “a cold day” so it’s just about context.

In general, never refer to yourself as either caliente or frío/a unless you’re talking about your body temperature (and use estar), but even in that situation I’d add ¿tengo fiebre? “do I have a fever?” so there’d be context

@ OB 5x02

Vocabulario sobre la muerte en español

un asunto de vida y muerte - a matter of life and death

un ataúd - a coffin

un cadáver - a dead body

causar la muerte - cause death

un camposanto, el cementerio - a cementery

el derecho a la muerte - the right to die

enterrar, sepultar, dar sepulta  - to bury

el entierro, el funeral - funeral

enviudar - become widowed

el viudo - widower

la viuda - widow

estar de luto - be in mourning

la funeraria, el tanatorio - funeral home

hasta que la muerte nos separe - until death does not separate us

el heredero - heir

la herencia - inheritance

el luto - mourning

la morgue - morgue

morrir, fallecer - die

el muerto, el difunto -  a dead person

la pena de muerte - death penalty

perder la vida - perish

se debatía entre la vida y muerte - between life and death

el sepulcro, la tumba, la fosa - tomb

el sepultero - gravedigger

el testamento - testament

la última voluntad -  last will

el velatorio, el velorio - funeral meal

la muerte en un atentado - death in assassination

la muerte inesperada - unexpected death

la muerte por exceso de trabajo - death from overstrain

la muerte súbita - sudden death

la muerte trágica - tragic death

¿Hay vida después de la muerte? - Is there afterlife? 

el término de la vida - end of life

la muerte cerebral - brain death

Se qualcosa è stato bello devi dirlo. Se qualcosa ti piace, se qualcosa ti rende felice devi dirlo. A forza di piangere hai imparato a difenderti e io questo lo capisco. Capisco che pur di smettere di farlo annegheresti nello schifo di una vita ordinata, con i sentimenti spenti e le labbra dipinte, ma se una canzone ti piace devi ascoltarla. Se qualcuno ti sorprende in positivo devi farglielo notare.
Devi ringraziare. Ringrazia, anche se ti fa piangere. Di’ “ti voglio bene” anche se ti fa piangere. Se qualcuno ti ha dato un bacio e da quel momento non fai che pensarci devi dirlo. Di’ “mi manchi”, di’ “ti amo”, di’ “ti aspetto”. Dillo, testa alta e cuore in mano. Non devi donarti tutta intera, devi lasciarti accarezzare. E devi, a tua volta, provare a ballare.
Fai delle cavolate, fanne tante, perché sono quelle che ricorderai più volentieri quando le gambe non saranno più così forti.
Se vuoi far l’amore fallo, non pensare “e se poi?” e “se lui?”. Se vuoi far l’amore dillo: “ti voglio”, “ho voglia di te”. Ci hanno insegnato che quasi tutto si risolve con un vaffanculo, con la forza, con l’arroganza, con la grinta, ma io credo che niente sia più irriverente e più potente della dolcezza, così quando vuoi abbracciare qualcuno abbraccialo e quando vuoi arrabbiarti fallo, ma non diventare mai cattiva solo perché qualcuno lo è stato con te. Mai.

Susanna Casciani (via deadinside3695)


“Non diventare mai cattiva solo perché qualcuno lo è stato con te. Mai.”

Anyone else noticed that in the svtfoe universe everyone seems so chill about magic


(also nobody seemed to be disturbed by the fact that their teacher got turned into a monster)

Ho voglia di un abbraccio. Uno di quelli in cui vieni stretta forte forte forte. Uno di quelli in cui capisci che chi ti abbraccia, sta cercando di darti un po’ del suo amore. Ecco, voglio uno di quegli abbracci.
—  ventiduenovembreduemilaetredici (via deadinside3695)

This is minute and not really well-thought out as I’m still trying to process some things that have happened in the last episode, but can we talk about how Raven does not only grow as a person the way she once told Sinclair she would, but actually comes to terms with Sinclair’s death through that?

The thing with her line “You’re always with me” and her deciding to choose life over pain is that it brings attention to one very particular emotional scene between them that took place way back in season 3 (3x03).

We all know that Raven’s need to hide her pain becomes very hard in the beginning, most notable when she tries to fight her physical disability by lying about it, but also visible through the emotional toll the traumatic experiences she’d been exposed to have taken on her by keeping a certain distance from the people she loves. It becomes clear that she can’t think of happiness or self-acceptance as a possibility at that time - driving herself to the point wherein she can’t even work anymore (which usually represented an escape for her).

When Sinclair breaks through Raven’s barrier and notices that she is a bundle of neuroses who purposely refuses Abby’s help (even though there is a way for her to get it with the medical equipment in Mount Weather) as she thinks she deserves the pain for all the things she’s failed to do and treats it as a sort of self-punishment for every person she couldn’t save while also believing that she is broken and therefore not fixable it’s him who let’s her know that she deserves more than any of this. That she is more than her pain and the losses.

I think I will never get over the motivation Sinclair brought out in Raven in this show, because this is something that he always made clear to her. That he always saw her awesomeness in a way no one else ever did, giving her the chances of a lifetime because he understood that she’s always been special - a little heart-murmur is nothing to him if it means that she can be who she wants to be. He’s come to represent the hand on her shoulder that grounds her, the one person who never once stopped believing that she is able to pull it off.

And while Raven wants to believe the things he says she doesn’t come to that understanding in 3x03 - not just because it is a process in itself, but because right after this conversation Raven fails to save more people - including a friend, Gina. So, diluted by that loss and fresh pain, Raven spirals deeper into darkness and isolation and becomes an easy target for none other than ALIE.

She takes the chip after convincing herself that she’s got nothing to lose and gets rid of everything, stripping her body and mind from who she actually is.

The fact that, for a while, Raven seems to be okay with what the chip does to her doesn’t escape anyone, even when we, as the audience, know that ALIE isn’t to be trusted since we know what her “key” does to people. She finds the solace in it that she hadn’t been experiencing for a long time, so she let’s that feeling wash over her and affect her to the point that she forgets about things - not just her pain, but also the things and people she loves (e.g Finn).

When Raven gets rid of the chip the first thing she experiences is death again. And it’s not just a simple death, but it’s her witnessing Sinclair dying on the ground, a fight she faces and can’t overcome, because she can’t save him.

While many people have made clear that Raven doesn’t let Sinclair’s death distract her from saving the world, working day in and out (Monty says that she hasn’t been sleeping for days - the circle under her eyes certainly tell the story) trying to find a way to defeat ALIE with her friends, there is a part in her that refuses to accept it. The difference this time is that the ALIE-upgrade - that she isn’t aware of in season 3 - and being able to focus on work/a fight give her the opportunity to not think about it (something she didn’t have before she took the chip), but the loss doesn’t go by her. Instead it hits her straight in the heart.

The first time we come to that realization is in 4x02, when she mentions Sinclair while she believes that she can’t run the repair of the ship alone, not able to place any trust in her skill-set as the awesome Raven Reyes she is:

And In 4x11, when she literally manifests him during another seizure, seeing her heart fight the remains of ALIE’s code in her brain for the first (and last) time:

The thing with 4x11 is that Raven does all the things she thought she couldn’t do before. For example, to win the fight against the brain damage (ALIE’s upgrade that Jasper first noticed about Raven way back in 4x01) - especially alone. Or the fact that she can and should place trust in herself and her talent, because she does not only come to realize that she, in fact, can save herself from dying in Becca’s lab or somewhere up in space, but also that she can be who she has always been at her core - the Raven Reyes who doesn’t quit, but keeps fighting. Live for herself without punishing her being with pain or the losses of the people she loves  “I don’t choose pain. I choose life”.

And when she says “You’re always with me” she, for the first time, genuinely accepts the loss of someone without blaming herself - Sinclair’s death. For the first time she does not distract her mind or delves into pain or isolates herself in yet another room only to end up looking out of the window because she hates being alone, but she focuses on getting to her hearts true desire, to drive her body forward so that she can come out of this situation un-dead, to reach out to her friends through the radio and say “This is Raven Reyes, and I am alive”.

I said it before, but I will say it again. Raven’s story line this season has catapulted my love for her into a whole new sphere and the character growth (especially the emotional progression) is off the fucking charts.

Yes, Raven couldn’t save Sinclair back in Arkadia, there was just no chance, but there is no blame either. Instead, she tells him that he has been and will always be with her, because at her heart she never forgets.

Undead Bertie

Also known as I think Bertie might be a fucking zombie and I can prove it 

So let’s start at the beginning. 

We all remember Bertie’s story about the Transcontinental Botanical Gardens and I think we’re all in agreement that he’s the man in the story. Especially considering Bollard’s jab at him in Oops Part 2 

Okay so you know how the man might have died at the end of the story? 

This could very well just be a metaphor, but let’s say for the sack of this post that it wasn’t. I mean, we already know that the Bridge can keep people alive (see The Wager and Roger probably being immortal), so let’s say that that’s what happened here as well? Bertie’s out there waiting and eventually freezes to death but the Bridge brings him back. 

As for proof to back this up, I was rereading the script for Over Troubled Waters earlier and 

as well as 

and finally 

Like seriously folks, I think Bertie might be (un)dead. 

Fuck me gently with a chainsaw
  • A.N. Jason's significant other finds out Jason is back from the dead. hilarity ensues. inspired by an ask on @uncpanda
  • “well fuck me gently with a chainsaw.”
  • That was all you could say when faced with the person in front of you eating the banana bread you had made earlier that night. You heard Alfred yell at you from the other room. Something about being ladylike and swearing, you loved the guy you’d think he’d be more forgiving considering your dead boyfriend, your un-dead boyfriend was eating your food.
  • “sorry Alfred.” You called. You stared at the person in front of you, he was leaning against the (expensive, custom made, Italian) granite counter top shoveling the remainder of your baked good into his mouth. Crumbs dribbled down his now strong jawline, his more green than blue eyes stared into your (e/C) orbs with a mix of fear, nervousness, happiness and sheer confusion. You put your hand on your hips looking up at the taller man who had just been a boy when he ha been taken away. A smirk found it’s way to his face and he reached out to pull you into hug. You accepted the hug.
  • “Oh hay bab-“ he was trying to press his lips against your jawline, you placed your hands in between you and his lips as a barrier.
  • “don’t ‘Hey babe’ me Jason Peter Todd. You faked your death for five years, didn’t tell me, ate all of my banana bread and you told literally everyone else in the family except your romantic partner. Oh excuse me former significant other and ex-fiance. Couldn’t you at least have had the decency to warn me? Or tell me? Why did you tell him and not me.” Your finger jabbed at his chest as your venomous words poured out. Each question grew in coldness. You pulled off your simple engagement ring and through it at his chest. It bounced off and rolled to the floor. After you were done there was a silence shared between the two of you as the iciness of your words and actions settled
  • “(y/n) I ca-“ before he could explain you spun on your heels. He followed you out of the kitchen and into the living room attempting to explain himself. He grabbed your wrist, you spun around and grabbed the nearest item. Which happened to be a vase filled with lilies and water and dumped the contents on you on him. you then flung the vase at a the wall (narrowly) missing Jason’s head as it smashed against the wall.
  • “that’s for my banana bread you bastard.” You yelled as you stormed away leaving the black haired man in a puddle of water and trampled flowers.
  • Bruce found you in the batcave reading photo albums in a pile of used tissues and chocolate wrappers. He sat down next to you and carefully moved the stack of photo albums next to him.
  • “so Alfred told you.” You sniffled as you pulled your legs up to your chest.
  • “actually no, the shouting, broken ming dynasty vase and a wet Jason lead me into the direction that you had.”
  • “sorry about the vase.” You murmured into your knees not meeting your mentor’s gaze.
  • “it’s okay, I can get another one. Its one of the perks of being a multi-billionaire.” He winked at you in a succeeded attempt to cheer you up. “you know he actually did die, he was actually dead. The joker did murder him and we did bury Jason. It was Ra’s who brought him back using the pit.” You sat up straight, stared at him your hands balled up taking your shirt in your hands in an attempt to keep your fists from shaking. Tears began to well up in your eyes threatening to pool over your (s/t) cheeks.
  • “How long?”
  • “what?”
  • “how long have you known?” your voice was slipping into the same cold tone from before.
  • “Three months.” Bruce said sheepishly refusing to meet your gaze. You let out a small chuckle.
  • “looks like everyone in this family knew that my boyfriend has been alive for three months except me.”
  • “if it helps Barbara slapped him.”
  • “it doesn’t but thanks for the sentiment. How did you find out?” you had a small smile on your face as you stared at your father figure.
  • “You know the Red Hood?” Bruce asked as he rested his hands in his lap.”Well, while you were away in Europe three months ago on that mission for Barbara we caught him red handed-“
  • “pun intended?” you asked grinning. He nodded and continued with his story.
  • “he told us not to tell you because he wanted to do it himself. He wanted to apologize and woo you, his words not mine. I was so overwhelmed by having him back I never questioned it. I loved having my son back, I should have understood that you would want to have his lover back too. (y/n), Jason loves you, so please give him a chance to redeem himself. Please give me a chance to redeem myself.” Bruce’s words were gentle as he took your hand and placed your ring in the palm of your hand.
  • “Thanks Bruce” you said as you wrapped your arms around his shoulders. The two of you stood up and parted ways. Him to wherever the hell Bruce spends his free time that wasn’t the bat cave and you to Jason’s room. You opened the door to the room that had been left in almost museum-esque condition after his death. There you found Jason asleep on the almost bed that had been too large for sixteen year old Jason and now seemed like a doll bed for the new man. There were tear marks on his cheeks and a few new scars. His face seemed older, more worn, more scarred. You ran your fingers through his hair playing with the new white streak that according to Bruce had been a product of the Lazarus pit. He needed to touch up his roots, the strawberry blonde was sticking out from underneath the dark hair. You ran your fingers down his forehead, down his face, you touched his jaw. His stubble stabbed your soft thumbs.
  • Your hands ran down his neck, down his chest to the ‘Y’ shaped scar across his bare chest. You gently touched the white scar tissue, he stirred before his eyes flashed open. He grabbed your wrist before he was able to register who it was.
  • “(y/n)”. you nodded. You stared at him, he loosed the grip on your wrist not meeting your gaze. You wrapped your arms around him, burying your face in the crook of his neck. Tears pricked your vision as both of you sat there gripping each other like you could be ripped apart at any moment.
  • “I love you.”
  • “I love you too.” And then he kissed you. It was a slow Hollywood kiss, corny and gentle. He pulled away and then nestled his nose into your (color) hair.”you changed your shampoo.” He murdered as he breathed in, you nodded.
  • “hey babe, I’m sor-“ you cut him off with a feverish kiss. It was rough and passionate, you straddled him as you carefully held his hand in yours. You pulled away breathing heavily.
  • “Shush, Bruce explained everything.” You kissed him again, it was slower but still passionate. And then suddenly clothes were coming off and kisses were being shared under the covers.
  • He held you in his scar littered arms, your breathing matched eachother’s. your arms wrapped around his well defined waist as you both stared at each other (e/c) meeting aqua eyes. Both of you were smiling like idiots, like nothing was wrong.
  • “you kept the ring.”
  • “yeah, it felt wrong to get rid of it, to love someone else. To finally let you go, to finally except that you were actually gone.” He pulled you closer.
  • “I’m sorry I had to leave. But I’m back now and that’s what matters.”
  • “I’m glad you’re back.” You nudged your nose against his chest.”so Red Hood?” you teased.
  • “Yeah.” He grinned back.” I thought it was ironic. You know? Taking on the mantle of the man who killed me. Also aren’t you a little young to be making 80s chic flick references” He said with a wink.
  • “We’re literally the same fucking age Todd, also Heathers is a cinematic masterpiece. But seriously this explains the flirting. I was honestly starting to get freaked out that murderous, mentally unhinged, vigilante actually had a thing for me.” You said with a smirk.
  • “He does” Jason pressed a sloppy, wet kiss against your cheek.
  • “you know what I mean.” You teased back playfully swatting at him.” but I guess you can’t resist me”
  • “what can I say I’m a sucker for (h/c) haired cuties in skintight costumes with daddy issues and a thing for orphans” You said as he rubbed his freckled nose against your neck affectionately.
  • “You’re supposed to be my lover, not an asshole”
  • ”I can be both. Ready for round two?” he said with a smirk his green-y blue eyes clouded over with lust.
  • “only if you bake me a replacement banana bread. I needed that for a meeting I have tomorrow.”
  • “don’t talk about work when I’m about to make love to you, you moron. Also consider it done” Jason said as he kissed you.