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ojovivo

oozey mess
One Nice Bug Per Day
Lint Roller? I Barely Know Her
đŞź

Kaledo Art
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@theartofmadeline
wallacepolsom
RMH
Three Goblin Art

â
PUT YOUR BEARD IN MY MOUTH
2025 on Tumblr: Trends That Defined the Year
Stranger Things
trying on a metaphor
occasionally subtle

ellievsbear
seen from Netherlands
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@strangelittlestories
A quick and easy nonbinary name survey
[ Click here to participate ]
It's open until 19th July 2026, and it's open to anyone whose gender(s) (or lack thereof) defy the restrictive binary of male/female.
Boost for SCIENCE~~~

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There's a thing people like to say about Duke. They say "It lies as easy as breathing".
And that's true. In that : it lies naturally, seamlessly, and perfectlyâŚ
âŚright up until you point out that it's doing it.
Then everything goes tits up real quick.
Sephora had three main complaints in life:
First, that they shared a name with a popular make-up brand and it was not considered polite to respond to jokes by saying, âI have lived aeons immemorial and my name is etched across the bones of every star in the firmament; my deeds are sung in the breath of every desperate prayer and gasping exaltation; amongst the gifts granted to me by the divine, I count endless patience, boundless love, and an echo of the song of the infinite whose refrain contains every mystery of the spheres from greatest gaping vortex to most minute speck⌠yet still your âwitâ falls on deaf ears for, regretfully, the divine did not include amongst those manifold gifts anything resembling âa sense of humourâ.â
Second, that the endless song of fate the divine sang (and sings still) in duet with the universe did not contain a single clue about what they were supposed to do with their life now.
Third, that their last hit of Grace was three weeks ago. The cravings were beginning to scrabble and claw on the inside of their skin.
Seph had been âretiredâ for a few years. They weren't human, not exactly, but their wings and halo were dormant. They could not hear The City Above broadcasting its shifting oil-slick harmonies of purpose, glory and sorrow. The ever-burning cascade of notes that was human existence had become a muted warm hum.
They didn't remember why this had happened. No-one ever does. You simply wake on earth in a body that feels like it's made of mud and sticks, with a memory like tinnitus after a concert (loud in its absence). Seph had come round in a plain hotel room, with a closet full of clothes already grown comfortably soft from wear, and a threadbare wallet on the dresser.
The wallet was filled with untraceable cash and IDs with a strange face that Seph saw in the mirror was their own.
I always think of the description I saw years ago: Self-imposed deadlines don't help me, because I know the person who set them, and they're full of shit.
tags by nothorses
texts between angels trying to live as mortals by keaton st james

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The city and the planet it was on are both named Consequence.
It is a dull planet and a very strange city. The planet is dull because it is inhabitable, but unpleasant. It is a little colder than Terra-standard. It is covered with vast swatches of pale green scrubland that are arable, but not overly so. The local fauna is edible and not very dangerous, but just grumpy enough to make herding them more trouble than it is worth.
Life there is not terrible, but it is hard enough that it requires consistent, low-level effort to sustain.
The city is a vast technological wound that puckers out of the isthmus â the narrow bridge of land â between its two central continents. It is a very three dimensional city, with neighbourhoods buried deep into the earth and others rising towards the sky.Â
Suburbs snake off the city proper, chasing the almost-warmth of the equator, winding all around the planetâs midriff like a thin and shining scar. Many of these areas would be called cities in their own right in other places, but tradition on Consequence dictates that only the central hub is the city and everything else exists in relation to it.
The people of Consequence are notable for two things.
First, a general state of matter-of-factness. A common reaction to both tragedy and triumph of âwell, I guess that happened.â A certain preoccupation with âso, what are we gonna do about this, gang?â This âit is what it isâ attitude permeates the culture so deeply, that neighbouring systems will describe anyone who exhibits that kind of sighing-but-practical acceptance as âconsequentialâ.
Second, it has a peculiar kind of caste system: Wardens and Citizens.
I'm idly doodling a 5e sorlock for a very specific thematic mix of subclasses over here, and while I was doing that I was amused to realise that sorlocks can give you a very fun mix of metamagic, invocations and feats thatâll get you a 1200ft range spell.
Specifically, as one might guess, a 1200ft range eldritch blast.
You start out warlock, and you take the Eldritch Spear invocation, which says thus: âWhen you cast eldritch blast, its range is 300ft.â
So now you have a cantrip with a 300ft base range.
Then you take the Spell Sniper feat, which says thus: âWhen you cast a spell that requires you to make an attack roll, the spell's range is doubled.â
So our 300ft eldritch blast is now a 600ft eldritch blast.
And then, with your sorcerer levels (or the metamagic adept feat, if you donât want to multiclass), you take the Distant Spell metamagic, which says thus: âWhen you cast a spell that has a range of 5 feet or greater, you can spend 1 sorcery point to double the range of the spell.â
So you can spend 1 sorcery point per casting to turn your already 600ft eldritch blast into a 1200ft eldritch blast.
Now. Are there likely to be all that many situations where itâs useful to be able to shoot someone the bones of a quarter mile away? With a cantrip? Probably not. For a start, they might be getting slightly difficult to see at that range. This is more of a âcool once-off trickâ than a generally useful thing to sink multiple levels and at least one feat into.
But hey. That one time an enemy spellcaster is trying to escape using the fly spell, itâd be really damned funny to force a concentration check from 1200ft back, just to see if they get to stay in the air. Heh.
And the advantage of it being eldritch blast specifically is that eldritch blast generates multiple beams as it levels, instead of just doing more damage per beam, and each beam gets its own attack role. So, like, even if weâre at disadvantage just for sheer range, once we get up to three or four beams, surely one of âemâs gotta hit?
And if youâre a sorlock with Quickened Spell as your other metamagic, you can also quicken a levelled spell to do something else actually useful on the same turn. In case anyone objects to you wasting turns trying to take potshots at the speck on the horizon.
IDK, the possibility just tickled me, I guess.
This phrase has already entered my vocabulary re: media criticism where like. The viewer has a concrete view of what they expect a story to be based on the tropes and cliches they're used to seeing together, and when that doesn't happen, they judge it as a failed depiction of what they assumed it was going to be instead of judging it as what it actually is.
"This show is problematic because the hero didn't kill the villain at the end": When does he steal the bread?
"These two characters who were close friends throughout the series don't kiss at the end! What the fuck?": When does he steal the bread?
"This feels like it's missing a conclusion! Like, the protagonist does bad stuff and because of a critical decision he makes as a result of his major character flaws, meets tragedy in the end! Where's the part where he learns better and brings is love back from the dead and becomes a good guy and gets a happy ending?": When does he steal the fucking bread??
I heard this out as "When criticizing something, you must judge it for what it is, not what it isn't"
#this is why so many of us urge people to get a wider diet of stories
âWho do you want me to kill?â the assassin asked, the weariness of a thousand wind-worn headstones in her voice.
âIt's not a who,â replied the client, swirling their wine around the glass, âbut a what.â
âI don't do animals.â The assassin motioned to a waiter to bring her a glass. âAnd I charge double for conceptual. At least double.â
âI am happy to pay for exceptional work.â The client picked up the bottle and filled the assassin's glass.
The wine was dark and viscous with only the faintest tint of red; it was like someone had cut the throat of midnight and bottled its lifeblood, straight from the vein.
âThere is no âexceptionalâ work in this business. Not really. There's only here or gone.â The assassin drained the glass and tasted tannin, clay, summer fruit and ozone. âSo what would you have me make gone?â
âDespair.â
The assassin laughed. She laughed loud and slightly too long.
âThat one is an easy target. Simplest thing in the world.â She nudged her glass towards the client, who refilled it silently. âIf despair is your enemy, you can kill it with three words.â
âMust be powerful words.â
âThe most powerful.â The assassin held up three fingers and counter out three simple syllables. âI. Need. Help.â
The assassin emptied the fresh glass of wine. She detected undernotes of rich chocolate and spent matches.
âA most efficient incantation indeed.â The client sipped from their own glass, leaving their lips and teeth coated with glossy dusk-stains. âSo⌠why haven't you asked for help if it's so easy?â
âWe're old buddies, me and Despair. If he was gone, I'd surely be lonely.â The assassin laughed again, but only a little, and her laugh was a sad, small and wriggling thing.
âNonetheless, he is the target.â The client dropped a velvet bag on the table with a clink. âWill you take the job?â
âI⌠I don't know if anyone will answer me. When I ask for⌠yâknow.â
âThen you had best create a world that will.â The client dipped a finger in their glass, then idly began to doodle on the table in wine smears. The wood sizzled as they did so. âIt is said that, in this world, the best way to kill is with kindness. I wonder if the reverse could also be true?â
âHow so?â
âDo you think that you could kill so skilfully that you make the world kind?â
---
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âWhen we were kids, the Phonics Wizard came to our town to show off how the letter E can change the sounds of vowels. He turned a can into a cane, a pin into a pine. This one kid had a cap and he changed it into a cape, that kind of thing.
âAnd we loved it, we were all having a great time, but then he saw my sister and I, and he just got this - this look in his eyes, and then-â
She hesitated, worrying the coarse material between her fingers. âThings got pretty bad after that,â she muttered. âI know itâs silly, but I try to keep - her - comfortable. We donât know if she can still hear us, or see us, or if sheâs even still in here, but I like to think she is. I talk to her when I can, I leave music on when Iâm out of the house. I tried to convince my parents to bring her with us when we went to Disneyland, but they didnât - didnât really take that well.â
After a moment, she put the ball of twine back onto its pillow. âAnyways. They tried to arrest the Phonics Wizard, but he had a plan in case something went wrong and he turned it into a plane and flew away.â

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The passage of the seasons - Summer defeating Spring
Summer as blinding light, heatwaves, and fire
''Poor Spring'' Thereâd be no Summer without Spring and she happily welcomes someone who surpasses her in this fight
The In-Between Childâs parents always told it that they found it in the woods.
Well, thatâs not exactly what they said. My apologies, I am not very good at accuracy; I tend to wax poetic and bend facts into pretty shapes to try and fit them into a slot marked âtruthâ.
The problem is, someone keeps changing the shape of the slot, so I just bang at the words with the hammer of metaphor until they make interesting patterns and then jam them in there anyhow.
But just this once, as a treat, I will do my best to cleave to memory and give you just the things that honestly happened.
What those parents actually said to the In-Between Child was this:
âIt had been a hard winter and we were hungry. Our stores were low and our bellies rumbled and we felt the pangs of hunger twisting us, so we did. And we knew it was wrong, you understand? We knew we oughtnât go there and that we certainly oughtnât have taken anything back out again, but we were desperate.
âSo we went into the Great Forest and we foraged and we hunted. But the Forest felt like playing a trick on us, as it often does when the mood takes it and the unwary wander in, so every berry we found was poison and every mushroom a house for fairies. We traipsed about in circles all day â our hunger getting worse and our heads getting faint â then, at long last, we found a calm little glade and in that calm little glade was a piglet.
âIt was all on its own. No sign of a parent or any of the rest of its litter. It didnât seem distressed by this, mind, it was sitting there in the dirt as happy as, well, as a pig in the mud!
âAnd when it saw us, it wasnât at all afraid. It tottered over with its nose wrinkling, all full of interest. So, we turned to each other and we remarked on how this was, in every way, a most curious beast.
âSo we took it home with us. And, if weâre honest, we were probably going to eat that piglet. Oh, of course, weâd have waited until it had had a good life and gotten all fat on that kind existence. We were fond of it, sure, but donât think us soft-hearted. We were not looking for a pet, but for a meal.
âImagine our surprise, then, when we got that beast home and made it a little pen and fed it on roots and acorns and swaddled it in some rags, then we came out the next morning to find a babe there instead!
When I was younger, I knew an Enchanter who told me a tale that has stayed with me ever since.
When this Enchanter was a girl, she was in the habit of travelling through the Great Forest.
She claimed this was because she was visiting family. However, in truth, she simply liked the feeling of being enveloped by the tall canopy of branches. She enjoyed the feeling of walking through shadows dappled with light. She was fond of the sound of the wind as it whispered soft secrets through the trees. She was fond of how every tricksy path twisted itself into a circle when you weren't looking.
Even in those days, when the Great Forest was smaller, it still was not safe to travel through. The knots in the trees had eyes and the depths of its bowers hid many ears. So, to keep herself safe, she wore a red hood. This kept her face obscured, so the spirits of the woods would not recognise her. The brightness of its crimson, too, gave predators a second thought, for nothing in the Forest coloured so brightly was safe to eatâŚ
But no protections are foolproof. So, on one of her excursions, she ran into some trouble with a Wolf. For when folk wander alone in the wilds, there will always be a Wolf. To walk alone is to walk in the shadow of fangs and moon.
I will not bore you with the details of this encounter, for you have surely heard it a hundred times and a hundred more.
What I will say is this: most troubadours will tell you that she was saved by a woodcutter. This, she explained to me, is a misinterpretation. Her true saviour was a âman of the woodsâ, which most assumed meant woodsman and thus woodcutter. It was, in fact, a figure with armour of thick bark, limbs of strong knotted branch, and a face of leaves.
Her ordeal, far from discouraging her, ignited a lifelong fascination with the Great Forest. This is one of the few preoccupations that Enchanters and Troubadours share â we both seek the truths that lie in the space between the familiar horizon of sky and sun, and the strange horizon of vine and moon. We both find fascination in the way the Forest builds life out of death. In how it is all circles and cycles and revolutions. In how it smudges the ink between ending and beginning.
So, when she was grown and fully come into her power and magic, she returned to the Great Forest. On this journey, in honour of the girl she once was, she wore a red ribbon tied through her hair.
She followed no particular path. She ignored all the lessons taught by tale and by magicians. She wandered into the undergrowth. She let herself become lost. She stared up at the stars that winked through the green sphere above â not to find her way, but only with wonder at the beauty of light that played with the darkness.
Before long, she felt a prickle down her spine. She heard the gentle brush of padded paws on a bed of moss. She smelled the musk of fur and blood. The Wolf had returned.
The Wolf always returns.
The Wolf is a thing of beginnings and endings. A creature of death inevitable and fresh life and death unexpected.
And once âThe Endâ had caught her scent, the enchanter did the very worst thing she could do. She ran.
Thorns and branches tore at her. Her feet pounded on the dirt and her heart pounded in her ears. She felt the hot breath of a predator on her neck and smelt rank rot in her nostrils.
Then, in a small copse where the illumination of stars and moon pooled as if caught in a scrying bowl wrought from verdant shoots, she stopped.
The Wolf bore down on her. Her ragged and fearful breath was music to its ears; it was the song that chase-worn prey always sing in the moments they accept the hunt is overâŚ
But the Enchanters smiled. She took the red ribbon from her head and it unfurled and kept unfurling and cascaded down into the earth and greenery. This was the ribbon she had made from the rags of her old red hood. A ribbon she had woven in the light of midday sun and waning moon. A ribbon she had soaked in the waters of fate and dried on the breath of the west wind.
The copse exploded with a thousand fresh-grown shoots all interlaced with a thousand blood-red ribbons. They wrapped the Wolf in an embrace of exquisite indulgence and raw wild life. It was borne down into the earth by the tapestry of two worlds interwoven, and there the earth ate it down to its bones.
They would wash up again on some story's shore, of course⌠but it would take a considerable amount of time.
When the maelstrom of dirt and bramble and scarlet silk died down, two figures stood in the clearing.
One, an Enchanter whose fell knowledge and fine craft had just unmade one of talesâ oldest foes.
The other, a figure made out of all the green and wriggling and ancient life of the wilderness. A forest that walked like a human.
The Enchanter knighted the Green One then and there.
Ever since, the Great Forest has known chivalry, but â because the chivalry of the forest is long in tooth and claw and must, above all things, be something that grows and holds life and death and life again in its hands â the Knight took up no sword and kept its axe.
This is but one tale of how the Green Knight came to be.
It is probably not true.
But, still, it is a story that has stayed with me all my life.
As has my love of chivalry, of the Great Forest, and of things that grow and live and die and live again.
---
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When youâre TRYING to sustain poetic purple prose but you have to write a transition paragraph you HAVE to just get them in another room like it is so serious and desperate that you just write a plain sentence but your extra ass is like âhow can I make this sentence about them walking down the stairs exude the themesâ
The worst part of the Apostatesâ Curse is that you have to do it to yourself.
Oh, the Coven of Covens won't make you go through it alone. They'll gather round, their eyes full of poisonous sadness and even more poisonous love. They'll murmur soft encouragement and funeral compassion.
But they'll still put the bowl of ashes in front of you and hand you a spoon and tell you to eat.
They'll take turns to hold your hand and squeeze it and tell you how brave you are, while your other hand shovels hearth-dust into your mouth.
They'll tell you how necessary this is, and how proud they are, and how this road is long and shadow-pocked⌠but they will walk it with you as far as they can.
All this they said to Niks. And all the while, the witch-turned-anathema felt the ashes coat their throat and curdle back into embers in their stomach.
And all the while, Niks' former coven-mates dipped needles into iron ink and made Niksâ skin a thread-work of nevers.
Never again to be part of their family.
Never again to stitch the torn edges of the world into something beautiful.
Never again to tend magic, except inside their own body.
Never again to be anything but a coven and a hearth of one.
Niks felt sick and not just from the meal of yesterday's fires.

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The Nasdaq were a collection of economic spirits venerated the middle to end United States imperial wealth cults. Economic spirits, referred to as "stocks" (/stÉks/) in the obscure dialect of French spoken in the United States, were categorized into one of several "exchanges" ( /ÉksËtÍĄĘeÉŞndÍĄĘ/) based upon perceived impact and power. The Nasdaq are believed to have been held in higher esteem than other contemporaneously worshipped exchanges in the Dao and the Nysse. Shamans of the imperial wealth cults ("brokers" /ËbÉšoĘkÉ/) were known to sacrifice offerings ("layoffs") to the Nasdaq in hopes of receiving material and spiritual rewards from the supreme deity of the United States, The Free Market. Brokers were often known to interpret omens of the day by questioning the effect of such omens on the stocks.
I have never lived alone, but I imagined A space where all my thoughts lived on the outside, bluetacked on the walls and haunting second-hand lamps. I imagined walls painted with actual colours, badly, that expanded and contracted with my breath. I suspected Iâd be good at solitude.
I have never lived alone, but I always thought I might like to. The finances never really worked out, I guess? But I had this vision of myself existing In a space that was just mine and when I ran out of juice I would plug my heart into the mains. When I ran out of juice I would put an orange in the stainless steel juicemaker and pull the lever till I felt the pulp squish as if entropy works for me.
You have been away this weekend. Solitude has not lived up to expectations. I miss the incidental sounds. The movement in the background, The soundtrack of medical dramas and video game music The percussion of footfall and moving air and a body brushing against the obstacles course of shared objects.
I have not wandered into your room today to kiss you on the forehead for no reason or lick your temple when youâre not expecting it or kick you gently in the shoulder because I want to show you that Iâve been stretching recently. I have been a mischief to no-one today. No-one has bought a bottle of that white wine cut with fruit juice that you like and that I, a snob, also really like. No-one has left salt and vinegar Discos on the kitchen counter.
It is like the flat is a trumpet and someone has shoved a mute down its throat because we need to practice, but we cannot bother the neighbours. The air is too solid. My thoughts live only inside my head today and that is not where they live when you are here to be haunted by them.
What I am trying to say is that âUsâ is a troublesome spirit that only rattles the furniture when we are both here to medium for it. I am trying to say that âUsâ is troublesome spirit and that is my favourite kind of spirit. I am trying to say I am better at âUsâ than solitude. I am trying to say I miss you.
---
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