trust your heart, and trust your story
Sophia. ♉. books and stories are my lifeblood; I adore the strange, mythic, and fantastic. if you are not interested in fictional ladies and their narratives then you are in the wrong place.

this blogger is currently in mourning for Allison Argent #flowers for Allison

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Amazing new Bellarke fan video made by jackie1609f!


You have to know that Mako Mori’s internal monologue is the greatest thing on the planet.


New Captain America: the Winter Soldier stills


Numbers stations are mysterious shortwave radio channels of indiscernible origin that exist in countries all across the world and have been reported since World War 1. They are identifiable by the unusual contents of their broadcasts: seemingly random sequences of numbers, words, letters, tunes, and Morse code, usually spoken by artificially generated voices of women and children.

The most common theory regarding the purpose of these bizarre stations is that they’re used by governments the world over to secretly transmit encrypted commands and messages to spies. That said, even though numbers stations have been discovered all over the globe and in any number of different languages, no government has ever officially acknowledged their existence. While the espionage theory is a logical one, with no official confirmation of their purpose the jury is still out.

One particularly odd station, UVB-76, has existed since the late 1970s and has broadcast a simple, repetitive buzzing tone 24 hours a day ever since. On very rare occasions, however, listeners have reported a Russian voice interrupting the buzz to read out sequences of numbers and words, always in a consistent format — this happened once in 1997, once in 2002, once in 2006, 56 times in 2010, and 14 in 2011. As with all numbers stations, its true purpose is and will probably remain unknown, but the increase in frequency of whatever it’s doing is certainly odd.

You can listen to well over 100 recordings of numbers stations for free on but be forewarned that they’re all kind of, well, eerie. They feel like something you shouldn’t be listening to, which stands to reason since apparently you’re not supposed to know they exist.

yesssssssssssssssss I’ve had The Conet Project in my iTunes for years. It’s always an eerie jolt whenever I have my library on shuffle and one of the numbers stations comes on. They’re always a neat thing to play while making art, too — my process usually ends up being a lot more hypnotic and bizarre when I work to the sounds of numbers stations. 

Fun fact this post needs to note: Wilco’s Yankee Hotel Foxtrot pulls its name from and features the numbers station Phonetic Alphabet - NATO. If you aren’t listening to that classic album or numbers stations, like, at all, you should definitely be doing at least one of those things with your life, please. 


mama said knock you out

Then love until we bleed;
then fall  a p a r t  in parts.


goodbye warehouse 13 ↪ 5/9 favorite moments

You run into your ex-boyfriend and you don’t text me? Oh, bad, bad gay bestie.

clarke & bellamy in 1x04


Teen Wolf AU » Nobody really dies in Beacon Hills

A thought on gore and monsters in horror fiction


Okay, so I love horror stories, I love Creepypasta, I even love a lot of bad Creepypasta just because it’s so earnest. You can tell a great deal of it is being written by kids who just want so bad to make something scary but just don’t quite understand how to communicate the ideas in their head efficiently. But I love it, and I love them for trying so hard. So if it’s any help, I made an effort to identify some running themes with these writing issues and assemble some of my own thoughts on horror in stories, comics, and motion pictures and how the pacing of those different mediums effect how you have to deliver the spooky. Just in case it helps ease the frustration for anyone wondering why their spooky stories are having a hard time carrying through on the spooky front they want it to.

And it’s long as hell so I’ll put it under a cut.

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According to German mythology, there was once a beautiful young maiden, named Lorelei, who threw herself headlong into the river in despair over a faithless lover. Upon her death she was transformed into a siren and could from that time on be heard singing on a rock along the Rhine River, near St. Goar. Her hypnotic music lured sailors to their death.


Of course I’ll hurt you. Of course you’ll hurt me. Of course we will hurt each other. But this is the very condition of existence. To become spring, means accepting the risk of winter. To become presence, means accepting the risk of absence.