I Dreamt Of A Dark And Failing World. Where I Met An Artist Who Wept For His Wife. "Oft People Believe

Incase you really wanted it! This is the dragons den in the game. She isn't a gym leader anymore. But she does run the city. They haven't gotten to the elite four yet but I plan on making her a member. She is the mentor to a rival of the character players. She gave the rival an egg that hatched into a dratini and the player character one that will hatch into a bagon. The dragons den has ice type pokemon and dragon type encounters too. Every trainer there isn't a dragon Trainer but a dragon hunter or a dragon buster so they use dragon, fairy and ice type pokemon.

this really isn't an ask, but, a while ago I saw your concept of Claire as an ice type trainer, and I sorta ran with it. I gamemaster for a pokemon ttrpg, and in the game Claire founded her own Dragon's Den, but in an ice cave. My players thought it was cool spin on the concept, and you gave the springboard for some really cool environments so thank you for that!

aaaaaa that's so cool! so glad something i drew had such an impact! :D

feel free to keep me posted on how your sessions go!

I had this thought occur to me today. They say that beauty is in the eye of the beholder. I suppose tho that a Katydid cannot sleep when a Lark sings. Something may be beautiful to you, but it may be damning or dangerous to another.

A gentle breeze rustles the trees. A Streetlight’s light casts yellow over green leaves. Your head on my Shoulder. Mine in your hair. In a backyard. On a trampoline.

We all want Happiness. However the way we pursue it is so inept and unskillful we are often times more detrimental to our causes than we are helpful. I think it is safe to assume in our lives we have been taught we must grapple, struggle, and labor to ensure that happiness is ours.

I think that there is an answer that might be much more simple. Just be faithful in what you are. Be resolute in what you want to be. Be humble. And above all else Love. Because you are in just the same way, are above all else are loved.

Lemongrass in the Summer Sun. Just as bare feet dance so beautifully on the browns of the earth. A water hose then becomes the plaything of two people. Laughing Laughter that can still be heard.

The man on the left is Me and the man to the right is My Father. And if speaking honestly I have never given that man enough credit. Most of the best things I am, I inherited from him. He takes up most of me. Literally half, and figuratively far more than that. He has been a constant pressure in my life, and first It's like what, that doesn't sound great but then you remember that's what turns carbon to diamonds. And yeah there's has been a lot tension and friction in our relationships past, but nothing has ever been polished or shined without those exact things. My Father has always loved me without any modifier. He has been of a sturdier stock than I, and his firm guidance has always been to a better path than the one he had to walk. Once I remember my youth pastor compared my Father to how fountain square (Our home) used to be, and I am like how Fountain Square is now. And I don't think there could have been a better metaphor because while we are two different people where share the same base, and we may present ourselves differently but our love is just the same. My Father, I call him "old man", because I know I will always be able to depend on him in any age or time. My Father, if my life were a house he would be the frame. My Father, once with reluctance but now with reverence I carry his name. My Father, I have never given that man enough credit, and starting now Id like that to change.

I think it's appropriate that I changed out my head lights today. God probably knew it would be harder for me to see without you.

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

I don't know always the directions I'm meant to move in. But I do know the distance is either damned or darned by your dictation.

"Yet then again," This was a phrase commonly muttered by my now deceased Grandmother Pat. She used it often as either contradiction or conjecture. It was her verbal crutch that tethered her thoughts together. "Still even in addition to what has already been mentioned" I guess is much more a mouthful than the previous statement. But I keep on thinking about that Yet. How it could also mean "by now or then". Then "Afterward" and Again "Once More". I wonder if she knew all the while she was also saying a secret comfort to us, something that was analogous to Love and how it is omnipresent in our Lives. Love is "Here and There, Now and Then. Afterwards, Once Again."