Int3r3st1ng - Interesting - Tumblr Blog

George: Are you kidding? A chance do go ghost hunting, just the three of us? Like old times? The three musketeers! Lucy: The Powerpuff Girls Lockwood: Shrek, Fiona, and Donkey George: Wait a minute- Lucy: I'm fine with that

I'd very much like to punch a feminist.

I’d never, ever hurt a lady but I’d be happy to punch a feminist. It’d bring me great joy.

Listen up!

You see a post like this? Where OP might hurt/kill themselves? You hit that button that I circled

Hit that.

Click Suicide or Self-harm Concern

Yes.

Fill in the rest of it, and hit submit. The "content you reported" will fill itself in

Tumblr will follow up and help them.

Warning: this is only for mobile. If anyone knows how to do this for desktop, please add it!

This could SAVE SOMEONE'S LIFE.

YOU HAVE NO EXCUSE NOT TO REBLOG THIS.

I DON'T GIVE A FUCK IF IT DOESN'T GO WITH YOUR BLOG'S THEME.

And yes, REBLOG. Liking does no shit at all. This isn't ig.

You reblog, people see it. You don't, people don't see it. This shit's that simple.

This could save someone's life. It's not a joke.

Prompt #1 - Dawn

Dawn was Will's favourite time of the day. The golden rays that flooded Redmont, the stunning castle glowing red, and the perfect time to just breathe. The perfect time to climb his favourite tree and smile and...breathe.

Dawn was Jenny's favourite time of day. The happily chirping birds waking up and the most stunning blue sky coming from the pink hues of the sunrise.

Dawn was Alyss's favourite time of the day. The fresh air and the soft breeze that vlew through Redmont. The sunrise casting Redmont in shining red for all to see its glory.

Dawn was Horace's favourite time of the day. It was the perfect time for a jog, the perfect time to wake up and workout before breakfast, and it helped him focus.

Dawn was George's favourite time od the day. It was peaceful and calm. It was quiet and delightful. Dawn signified a new start, another chance, another day. It showed change and life, new and old.

Dawn was their favourite time of day for their own unique reasons, but perhaps it was their favourite time of day because they all got to see each other smile and bask in the glowing sunrise.

Lockwood, staring dramatically at the horizon: We’re born alone and we die alone and this world just drops a bunch of rules on top of you to make you forget that fact but I never forget. Love is a sham, a farce. There is no point to existence at all

George, not looking up from his comic: Lucy left to get donuts three minutes ago

I was referring to both actually. He became leaders in both camps and this just seemed like the perfect incorrect quote for either situation.

Percy: I think I accidentally joined a cult Later Percy: Update, I am now the leader of said cult

Please be aware that I have no idea if this has been done before, but I haven't seen it so I posted this

Percy: I think I accidentally joined a cult Later Percy: Update, I am now the leader of said cult

Annabeth: You're a coward Percy Jackson!

Percy: Why? Because I don't want to ask you out and I want to hang out with a friend that's actually nice to me? Please. Go fuck yourself. History will forget you.

Brb currently thinking how insane it would have been if Percy judo flipped Annabeth at the end of Titans curse like she did with him in MoA 💀 💃🏽

“Annabeth pulled away and studied his face. "Gods, I never thought-“

Percy grabbed her wrist and flipped her over his shoulder. She slammed into the stone pavement. The hunters cried out. Some surged forward, but Artemis shouted, "Hold! Stand down!'

Percy put his knee on annabeths chest. He pushed his forearm against her throat. he didn't care what the hunters or Artemis thought. A white-hot lump of anger expanded in his chest. A tumor of worry and bitterness that he been carrying around since the dance at Westover.

"If you ever leave me again," he said, his eyes stinging, "I swear to all the gods”.

AO3 Etiquette

It would seem a whole new kind of AO3 reader/writer is emerging and it is becoming clear not everyone quite understands how the website community works. Here is some basic guidance on how most people expect you to go about using AO3 to keep this a fun community archive that funtions correctly:

Kudos is for when the story was interesting enough to make you finish reading. If it sucked or was badly written, you probably left. If you finished - you kudos.

If you liked it, you should comment. It can be long and detailed or a literal keysmash. Writers don't care, we just love comments.

No critisism unless the author has specifically asked or agreed to hear it. Even constructive critisism is a no-no unless an author note tells you it's okay. Many people write as a fun hobby or a way to cope with, among other things, insecurity. Don't ruin that for them.

Do not comment to ask the author to write/update something else. It's tacky and off-putting and will probably have the opposite effect than the one you want.

There is no algorithm, it's an archive. Use the search and filter function to add/remove the pairings/characters/tropes etc. you want to read about and it will find you the fics that fit the bill.

For this to work, writers must tag and rate stories. This avoids readers finding the wrong things and missing the stuff they want. I don't care how cringy that trope is in your eyes - it gets tagged.

Character A/Character B means a ROMANTIC or SEXUAL relationship of some kind. Character A&Character B is PLANTONIC, like friendship or family.

Nothing is banned. This is an implicit rule because banning one thing is a slipperly slope to banning another and another, until nothing is allowed anymore. Do not expect anyone to censor for you. Because of the tags system, you are responsible for your own reading experience.

People can create new chapters and sequels/fic series any time after they "complete" a story. So it's considered perfectly normal to subscribe, even to a finished story. You can even subscribe to the author instead just to cover your bases.

Do not repost stories or change the publishing date without an extremely good reason (like a complete top to bottom rewrite). It's an archive, not social media. No one cares what's the most recent, only what fits their tag needs.

Avoid deleting a story you wrote if you hate it - orphan it so others can still enjoy it, without it being connected to you anymore.

This is a creative fanfiction archive. No essays on your insights or theories please. There are other places for that.

I KNOW there's plenty more I missed but I'm trying to cover most of the basics that people seem to be struggling with.

I invite anyone to add to this, but please explain, don't berate.

Horace: Are they giving free food? Will: No, I'm just wondering if it's worth it Horace: It's not. If they're not giving free food, it's not worth it

Will and Halt are each other’s home

For Halt, he literally had to leave his own home because his family sucks. And home is usually associated with family but with Halt he never made that connection. But then Will happened, and Will made his cabin feel more lived in, more homey, and somewhere he wanted to be

Then for Will, he has never really had a real home. And then Halt warmed up to him and then he went to his first gathering and he met Gilan and suddenly he didn’t feel so small. For the first time he had somewhere to go back to when he was in need, and that’s because of Halt

And there is literally a direct reference in the text of this:

I think it’s also very telling that in book 3 Halt is willing to give up ever coming back to Araluen for the chance to get Will back. Once he left Hibernia he found a home in Araluen, but he found something even better with Will

me holding a gun to a mushroom: tell me the name of god you fungal piece of shit

mushroom: can you feel your heart burning? can you feel the struggle within? the fear within me is beyond anything your soul can make. you cannot kill me in a way that matters

me cocking the gun, tears streaming down my face: I’M NOT FUCKING SCARED OF YOU

Feel like something that’s not discussed a lot is how unapologetically sincere the show is. I feel like there’s a been a real push against vulnerability and sincerity in favor of cynicism or sarcasm in media, like there’s a fear that showing characters talking about how much they care about each other will be seen as “cringe” or unnecessary. And Lockwood & co just brazenly wears its heart on its sleeve in a way that feels really refreshing to me.

Words to replace said, except this actually helps

I got pretty fed up with looking for words to replace said because they weren’t sorted in a way I could easily use/find them for the right time. So I did some myself.

IN RESPONSE TO Acknowledged Answered Protested

INPUT/JOIN CONVERSATION/ASK Added Implored Inquired Insisted Proposed Queried Questioned Recommended Testified

GUILTY/RELUCTANCE/SORRY Admitted Apologized Conceded Confessed Professed

FOR SOMEONE ELSE Advised Criticized Suggested

JUST CHECKING Affirmed Agreed Alleged Confirmed

LOUD Announced Chanted Crowed

LEWD/CUTE/SECRET SPY FEEL Appealed Disclosed Moaned

ANGRY FUCK OFF MATE WANNA FIGHT Argued Barked Challenged Cursed Fumed Growled Hissed Roared Swore

SMARTASS Articulated Asserted Assured Avowed Claimed Commanded Cross-examined Demanded Digressed Directed Foretold Instructed Interrupted Predicted Proclaimed Quoted Theorized

ASSHOLE Bellowed Boasted Bragged

NERVOUS TRAINWRECK Babbled Bawled Mumbled Sputtered Stammered Stuttered

SUAVE MOTHERFUCKER Bargained Divulged Disclosed Exhorted

FIRST OFF Began

LASTLY Concluded Concurred

WEAK PUSY Begged Blurted Complained Cried Faltered Fretted

HAPPY/LOL Cajoled Exclaimed Gushed Jested Joked Laughed

WEIRDLY HAPPY/EXCITED Extolled Jabbered Raved

BRUH, CHILL Cautioned Warned

ACTUALLY, YOU’RE WRONG Chided Contended Corrected Countered Debated Elaborated Objected Ranted Retorted

CHILL SAVAGE Commented Continued Observed Surmised

LISTEN BUDDY Enunciated Explained Elaborated Hinted Implied Lectured Reiterated Recited Reminded Stressed

BRUH I NEED U AND U NEED ME Confided Offered Urged

FINE Consented Decided

TOO EMO FULL OF EMOTIONS Croaked Lamented Pledged Sobbed Sympathized Wailed Whimpered

JUST SAYING Declared Decreed Mentioned Noted Pointed out Postulated Speculated Stated Told Vouched

WASN’T ME Denied Lied

EVIL SMARTASS Dictated Equivocated Ordered Reprimanded Threatened

BORED Droned Sighed

SHHHH IT’S QUIET TIME Echoed Mumbled Murmured Muttered Uttered Whispered

DRAMA QUEEN Exaggerated Panted Pleaded Prayed Preached

OH SHIT Gasped Marveled Screamed Screeched Shouted Shrieked Yelped Yelled

ANNOYED Grumbled Grunted Jeered Quipped Scolded Snapped Snarled Sneered

ANNOYING Nagged

I DON’T REALLY CARE BUT WHATEVER Guessed Ventured

I’M DRUNK OR JUST BEING WEIRDLY EXPRESSIVE FOR A POINT/SARCASM Hooted Howled Yowled

I WONDER Pondered Voiced Wondered

OH, YEAH, WHOOPS Recalled Recited Remembered

SURPRISE BITCH Revealed

IT SEEMS FAKE BUT OKAY/HA ACTUALLY FUNNY BUT I DON’T WANT TO LAUGH OUT LOUD Scoffed Snickered Snorted

BITCHY Tattled Taunted Teased

This is a neutral post

Feel free to stop here and rest before journeying to the posts below.

Morgarath wanted to feel special and decided that copying Zeus with the lightning theme was a good idea

wrong answers only why is Morgarath's thing a lightning bolt sword

wait guys. reblog this and tell me what the last movie you watched was. bonus points if you add a short review <333

Nice going, dumbass.

Katara's Story Is A Tragedy and It's Not An Accident

I was a teenaged girl when Avatar: The Last Airbender aired on Nickelodeon—the group that the show’s creators unintentionally hit while they were aiming for the younger, maler demographic. Nevermind that we’re the reason the show’s popularity caught fire and has endured for two decades; we weren’t the audience Mike and Bryan wanted. And by golly, were they going to make sure we knew it. They’ve been making sure we know it with every snide comment and addendum they’ve made to the story for the last twenty years.

For many of us girls who were raised in the nineties and aughts, Katara was a breath of fresh air—a rare opportunity in a media market saturated with boys having grand adventures to see a young woman having her own adventure and expressing the same fears and frustrations we were often made to feel. 

We were told that we could be anything we wanted to be. That we were strong and smart and brimming with potential. That we were just as capable as the boys. That we were our brothers’ equals. But we were also told to wash dishes and fold laundry and tidy around the house while our brothers played outside. We were ignored when our male classmates picked teams for kickball and told to go play with the girls on the swings—the same girls we were taught to deride if we wanted to be taken seriously. We were lectured for the same immaturity that was expected of boys our age and older, and we were told to do better while also being told, “Boys will be boys.” Despite all the platitudes about equality and power, we saw our mothers straining under the weight of carrying both full-time careers and unequally divided family responsibilities. We sensed that we were being groomed for the same future. 

And we saw ourselves in Katara. 

Katara begins as a parentified teenaged girl: forced to take on responsibility for the daily care of people around her—including male figures who are capable of looking after themselves but are allowed to be immature enough to foist such labor onto her. She does thankless work for people who take her contributions for granted. She’s belittled by people who love her, but don’t understand her. She’s isolated from the world and denied opportunities to improve her talents. She's told what emotions she's allowed to feel and when to feel them. In essence, she was living our real-world fear: being trapped in someone else’s narrow, stultifying definition of femininity and motherhood. 

Then we watched Katara go through an incredible journey of self-determination and empowerment. Katara goes from being a powerless, fearful victim to being a protector, healer, advocate, and liberator to others who can’t do those things for themselves (a much truer and more fulfilling definition of nurturing and motherhood). It’s necessary in Katara’s growth cycle that she does this for others first because that is the realm she knows. She is given increasingly significant opportunities to speak up and fight on behalf of others, and that allows her to build those advocacy muscles gradually. But she still holds back her own emotional pain because everyone that she attempts to express such things to proves they either don't want to deal with it or they only want to manipulate her feelings for their own purposes. 

Katara continues to do much of the work we think of as traditionally maternal on behalf of her friends and family over the course of the story, but we do see that scale gradually shift. Sokka takes on more responsibility for managing the group’s supplies, and everyone helps around camp, but Katara continues to be the manager of everyone else’s emotions while simultaneously punching down her own. The scales finally seem to tip when Zuko joins the group. With Zuko, we see someone working alongside Katara doing the same tasks she is doing around camp for the first time. Zuko is also the only person who never expects anything of her and whose emotions she never has to manage because he’s actually more emotionally stable and mature than she is by that point. And then, Katara’s arc culminates in her finally getting the chance to fully seize her power, rewrite the story of the traumatic event that cast her into the role of parentified child, be her own protector, and freely express everything she’s kept locked away for the sake of letting everyone else feel comfortable around her. Then she fights alongside an equal partner she knows she can trust and depend on through the story's climax. And for the first time since her mother’s death, the girl who gives and gives and gives while getting nothing back watches someone sacrifice everything for her. But this time, she’s able to change the ending because her power is fully realized. The cycle was officially broken.

Katara’s character arc was catharsis at every step. If Katara could break the mold and recreate the ideas of womanhood and motherhood in her own image, so could we. We could be powerful. We could care for ourselves AND others when they need us—instead of caring for everyone all the time at our own expense. We could have balanced partnerships with give and take going both ways (“Tui and La, push and pull”), rather than the, “I give, they take,” model we were conditioned to expect. We could fight for and determine our own destiny—after all, wasn’t destiny a core theme of the story?

Yes. Destiny was the theme. But the lesson was that Katara didn’t get to determine hers. 

After Katara achieves her victory and completes her arc, the narrative steps in and smacks her back down to where she started. For reasons that are never explained or justified, Katara rewards the hero by giving into his romantic advances even though he has invalidated her emotions, violated her boundaries, lashed out at her for slights against him she never committed, idealized a false idol of her then browbeat her when she deviated from his narrative, and forced her to carry his emotions and put herself in danger when he willingly fails to control himself—even though he never apologizes, never learns his lesson, and never shows any inclination to do better. 

And do better he does not.

The more we dared to voice our own opinions on a character that was clearly meant to represent us, the more Mike and Bryan punished Katara for it.

Throughout the comics, Katara makes herself smaller and smaller and forfeits all rights to personal actualization and satisfaction in her relationship. She punches her feelings down when her partner neglects her and cries alone as he shows more affection and concern for literally every other girl’s feelings than hers. She becomes cowed by his outbursts and threats of violence. Instead of rising with the moon or resting in the warmth of the sun, she learns to stay in his shadow. She gives up her silly childish dreams of rebuilding her own dying culture’s traditions and advocating for other oppressed groups so that she can fulfill his wishes to rebuild his culture instead—by being his babymaker. Katara gave up everything she cared about and everything she fought to become for the whims of a man-child who never saw her as a person, only a possession.

Then, in her old age, we get to watch the fallout of his neglect—both toward her and her children who did not meet his expectations. By that point, the girl who would never turn her back on anyone who needed her was too far gone to even advocate for her own children in her own home. And even after he’s gone, Katara never dares to define herself again. She remains, for the next twenty-plus years of her life, nothing more than her husband's grieving widow. She was never recognized for her accomplishments, the battles she won, or the people she liberated. Even her own children and grandchildren have all but forgotten her. She ends her story exactly where it began: trapped in someone else’s narrow, stultifying definition of femininity and motherhood.

The story’s theme was destiny, remember? But this story’s target audience was little boys. Zuko gets to determine his own destiny as long as he works hard and earns it. Aang gets his destiny no matter what he does or doesn’t do to earn it. And Katara cannot change the destiny she was assigned by gender at birth, no matter how hard she fights for it or how many times over she earns it. 

Katara is Winston Smith, and the year is 1984. It doesn’t matter how hard you fight or what you accomplish, little girl. Big Brother is too big, too strong, and too powerful. You will never escape. You will never be free. Your victories are meaningless. So stay in your place, do what you’re told, and cry quietly so your tears don’t bother people who matter.

I will never get over it. Because I am Katara. And so are my friends, sisters, daughters, and nieces. But I am not content to live in Bryke's world.

I will never turn my back on people who need me. Including me.

Anthony Lockwood didn’t fall in love with Lucy Carlyle because she left.

Anthony Lockwood realized that he loved Lucy Carlyle because she left. The falling started long, long before. The poor boy was a goner by the end of The Screaming Staircase and he had no idea.

Zuko finds out Katara was parentified from the age of eight and was a single mom friend of three until he stumbled into the position of gaang dad friend. So when she visits the Fire Nation Zuko dotes on her, making sure her every need is anticipated and catered to. He even goes as far as - to the horror of his council - kneeling to remove her shoes.

Because of this she earns the nickname Lady Katara among the palace staff which she finds amusing but a little confusing. So one day over tea she asks Iroh why they call her that and he explains:

"They're just practicing."

"Why would you need to practice a nickname?"

"Well my dear, they expect that within a few years Fire will preceed it."

And that's about when Katara chokes on her tea.