#<<< guy who just woke up.

[teardew]

trying to practice drawing on my phone ... my hand hurty 💀 ... himemiya heal me ............

[twentyfivemiceinatrenchcoat]

hot take maaaybe but imo the core tragedy of satoru is that he’s not a god, he’s literally just a normal guy who got godhood pushed onto him by other people . a god would be able to handle eternal solitude no problem but satoru isn’t one so he suffers for it

[canine-economy]

On Swansea’s (often understated) role in Mouthwashing

I say this as a big swansea fan but I don’t rlly understand why ppl are acting like he’s not also complicit in what happened to Anya? AUs where “Anya tells Swansea” and he jumps to violently defend her don’t make sense to me because canonically she does tell him, as he admits to Jimmy. But swansea represents another way of interacting with the capitalist heteropatriarchy that ALSO harms victims: holistic jadedness and resignation.

Swansea is across the board unkind to the Tulpar crew. We can’t forget that he calls anya a “so-called nurse”

and says this to Jimmy, which (if unintentionally) reiterates Jimmy’s own warped perception of Anya’s usefulness and competence. This allows Jimmy to feel justified in his imagination of the nurse’s inferiority. Swansea’s clear lack of respect for Jimmy does less to hurt Jimmy than his lack of respect for Anya harms Anya, because at the end of the day, Swansea’s attitude is contextualized by the violent culture it exists in and he does nothing to reconcile with that when Jimmy becomes the captain. His resignation can thus be weaponized even by Jimmy, a man who Swansea disrespects but whose power he doesn’t try to meaningfully jeopardize, because his across-the-board disdain punches people already marginalized by the environment twice as hard as it does those with power.

Swansea doesn’t position himself as an ally, he positions himself as willfully uninvolved in everything, an observer to the shitshow ride to hell. Just because he dislikes Jimmy doesn’t mean he aligns with Anya. He makes it clear that he’s not on her side, either. After a life of doing what he felt was expected of him, Swansea on the Tulpar looks out for Swansea and Swansea’s comfort. In trying to situate himself outside of the politics of it all as an older white man, he simply allows them to play out. The toxic culture keeps existing, playing out in the microcosm that is this freighter, and Swansea in all his experience recognizes that shit has hit the fan and elects to coast through it, even explicitly numbing himself to it by breaking his sobriety. It is, of course, hard to force yourself to be sober—to see clearly. But had Swansea forced himself to get involved sooner, he might have set a precedent for Daisuke to recognize Jimmy’s abuse, which could have saved Daisuke’s life as well as created a safe space for Anya. But Swansea’s inaction forces both victims to confront an abuser on their own, unable to reap benefits from his privilege and experience.

Jimmy is clearly intimidated by swansea in a way he is not by Anya, Daisuke, or a post-crash Curly (Swansea, for example, physically manifests as an aggressor in Jimmy’s “responsibility sequences”, and Jimmy ties Swansea up to avoid what he sees as the real possibility of pushback that he doesn’t conceive of Anya being able to do). Swansea has a power he does not act on or with until it is far, far too late. In fact, he acknowledges in his final monologue that he was dissatisfied with the discomfort with opening his eyes and living an exemplary “good man”s life. The best days of his life are ones in which he’s belligerently drunk—days in which he didn’t have to hold himself accountable. He regrets the life he spent performing for higher-ups and we watch him reject it by scorning Captain Jimmy, but he also doesn’t want to be held responsible for helping other people when it’s their turn to endure the expectations and violence from similar (if not the same) higher powers. Tragically, he possesses the hindsight to recognize that how he acted on the Tulpar consequently wasn’t what Daisuke needed out of a role model, leading to Daisuke becoming a victim. His hands-off approach to emotional engagement with his young male intern (another symptom of patriarchal gender norms) may have been to avoid Daisuke turning out miserable and jaded like himself, but it doesn’t actually indicate to an already-confused Daisuke what the dangers of that attitude are. Swansea never admits his own shortcomings in a tangible way which, had they come from a man with experience and prestige like himself, may have shifted that culture that failed Anya. She comes to him with the story not because he has situated himself as any earnest friend, but likely out of desperation on a ship Jimmy now controls.

When we allow “the machine” (Swansea’s own words) to beat us down to the point that we don’t find it productive to challenge unjust power dynamics, we become complicit. I think too many people get hung up on his disdain for Jimmy and Jimmy’s fear of Swansea as a marker of allyship with Anya, but the truth is that Swansea. Is a bad ally. He’s hardly one at all. His long stint in the demanding capitalist environment molded a perfectly complicit result out of him, as it aspires to do, even if Swansea bitterly recognizes that. Jimmy’s overt violence from a position of power is a different and much more brutal approach to abuse enabled by people who have been left too tired and bitter to care that he does it. A man who could’ve intimidated and even threatened Jimmy is too resigned to try until there is literally nobody but himself left to fight for, which is an attitude carefully cultivated among the lower rungs of hierarchies to keep the top safe. Swansea in particular seems very unhappy with the capitalistic, patriarchal expectations laid out for him as a father, husband, and laborer. His decision to just stop trying and spare himself the grief instead of questioning why those expectations exist and how they would hurt the others onboard only delays him being directly targeted by Jimmy and doesn’t interrupt the latter’s violence.

Not a single man in mouthwashing is innocent in Anya’s victimhood. This is a statement tentatively uninclusive of Daisuke, because I think the game very deliberately positions him outside of manhood through his youth and thus struggling with the concept of “fitting in” to the patriarchy. Curly, Jimmy, and Swansea all represent different failures that ultimately perpetuate Anya’s suffering and force her to defend herself and finally take her life into her own hands. A holistic analysis of rape culture in MW necessarily engages with all three of them. Only not being a friend and ally to rapists and other male abusers isn’t enough, and Swansea proves it.

[beanghostprincess]

A bit tired of people complaining about Sanji's principle of "not hitting women" being misogynistic when it has been clearly stated multiple times that he does not choose it and it's heavily tied to his trauma and admiration for his dad and respect for women and definitely not from seeing women as somehow weaker than him

[silkscream]

choso is like. the weirdest guy around. like a little loser outcast that you find ugly-hot at first. that specific flavor of quiet coworker that the rest of the staff shares rumors with you about. he's a satanist, he put a kid in the hospital in high school, he steals the neighborhood cats for witchcraft. you know it's all bullshit.

he's probably harmless. it's why he's so quiet, you think. probably got bullied as a kid -- a trailer trash baby without parents. looks a little out of it all the time, hazy dark eyes brooding.

something about him always has you drawn to his presence. magnetic air. he never looks at you for more than a few seconds, always snapping away his gaze like he'd just touched a hot stove. you can't tell if he's got some kind of skin condition from the way his eyes are always tinged, blush on the thin skin underneath his dark lashes. red like cut flesh.

the first time you talk to him, it's to bum a cigarette, and it's mostly an experiment. you want to gauge his aura. you've dreamt about how his eyes would look on you after he strips you down.

the way he looks at you is like a shark breaching the shore. he reeks of parliaments and incense. wet soil.

"you look dumb with that fucking birthmark," you drawl, leaning on the alley wall.

he scoffs, flicking ash onto your shoes. "i was cursed by a witch, you know."

"gonna kill every girl you kiss or something cliche like that?"

he steals the cig from your mouth, smirking at the way your plump lips turn up into a pout. his fingers hook in between them, index finger poking your tongue.

"you wanna find out?"

[vaguely-concerned]

I think the most defining thing about kremy as a person is that he desperately wants to be a man with a mustache -- while being physically, biologically incapable of producing hair follicles lol. like no wonder he takes to drag so much, that's basically most of what he's already doing with his outward identity! and the physical aspect of that is smaller, I feel, than what he's got going on psychologically. he's someone who doesn't want to be -- can't be? -- who and what he is, and who can't be what he wants to be because what he wants to be doesn't really exist, so he lives his life somewhere on the border between them. the almiraj might be no mirage, but the perfectly clever and charming and utterly untouchable version of kremy that kremy would like to be -- instead of the vulnerable neurotic mess of longing and fear and striving for control he clearly actually is -- absolutely is, I'm afraid. it's just a shadow on the wall with nothing real to cast it.

(all of this also goes into the many Gender and trans readings of him too, of course! men will say they’re fighting demons and the demons are trying to live up to a very specific brand of toxic masculinity they've sort of invented for themselves lol)  

the one deep down entrenched assumption we see kremy make again and again especially interpersonally is that if he's open with who he really is and what he feels or thinks at any given time, he would be revealed as fundamentally unacceptable and at best discarded and abandoned, at worst endangered. (it's literally spelled out with the cyclops in the witchlight carnival, but you see him go through this process all the time through the rest of the story too! being unable to lie or dissemble was a catastrophic event in this dude’s inner landscape. I’m sure that means nothing) and because he is also frequently kind of awful this assumption may not be entirely off base some of the time lol (deeply affectionate), but I think it comes from a much deeper place than that. kremy is ashamed of where he's from and who he's been -- that dirt poor wide-eyed kid from the swamp who saw all the fancy gentlemen in town and Wanted. wanted to be that, wanted to have that power, probably some confused sexuality want mixed up with it all as well for spice. wanted more than anything, perhaps, to BE something, because next to that he feels like nothing. which means abandoning the earnest kid who guilelessly loved unicorns and his meemaw and cooking without meaning to impress anyone and silly soft things in the swamp he came from while he went off to the big city and modeled himself after men like garou. (and his relationship with garou surely also had some effects on just how shifty he's become at intimacy too, aside from the building a facade of it all, that might be some secondary damage that was not his fault nor in his control at all)

even when he's acting seemingly shamelessly, he is fundamentally a shame-based psychology, is what I'm trying to get at. the only times he lets his thoughts and emotions out into the world unfiltered is when he's brought to a point of frustration where he throws up his hands and abandons manipulation or subtle machinations as an interpersonal tactic -- see: the several times he argues something with frost or gricko and then finally admits 'I literally don't actually care about this! you guys figure it out and deal with this if it matters so much to you I'm going to bed ffs' haha. his depression shines through when he’s too tired to hide it, especially in the later episodes. every open emotion is an admission he really didn't want to make and thinks is tactically disadvantageous for him. (and sometimes when he's being really for real he'll even admit to being worse than people gave him credit for, like when he admits he suspected mr. witch and mr. light were capable of doing something really really bad to torbek and handed him over anyway. kremy being that blunt and open is like. remarkable and also a sign that he's actually taking it seriously, for all that he's also revealing himself to be even more of an asshole than previously suspected lmao. that's not nothing, for kremy. BUT at the same time he is also the person who cried to see a unicorn broken and abused, and who saw something in gideon upon meeting him that no one else did or cared to at that time and offered him genuine companionship and support — as the story goes on he’s starting to admit to more things about himself, the bad and the good.)

all of which of course also is why he's having such a hard time being honest with gideon about how he feels (and the sheer immensity with which he feels it too, probably) -- that's incredibly vulnerable for a person who’s built himself up around the idea of never being vulnerable. ('i'm just a shadow, nothing you do can really touch or hurt me.') And yet if there’s peace and redemption to be found for kremy, if only within his own soul, between these versions of himself, I feel that discovering and accepting his own capacity for loving someone else so much that it transcends all selfishness or fear would be integral to it. (he loves gideon. So much it makes me a bit dizzy you guys)

[locallegion]

Just posting some pics of Movie!Bowser that I found in Pinterest/Twitter/Google Images because thehyperfixation I've had on this man for the past like two months is hitting like a truck right now aaaaaaaaaaaa

[defeateddetectives]

sorry but no other marriage proposal between two already divorced people will ever compare

[momomallowart]

Sloppy toppy

[karda]

more oc stuff . basically what if alice in wonderland was like narnia and over time u forget who you really were and start to get trapped in the fantasy and slowly lose your grip on whats real and whats a dream.

[ask2ps]

Who's 2p Italy's type in partners?

NORTH ITALY: Grazie lo stesso! [ Thanks, regardless! ] NORTH ITALY: And before you ask, no, I had nothing to do with my boss' death. I still dunno what happened there! I was only gone for a few months..

[hiraethwrote]

just woke up to see the results. sending all my love to my american friends. i hope you manage to stay safe despite everything

[theplantbish]

I appreciate Jere's bodyguard so much for not only keeping Jere safe but the audience too, he is so quick to spot things happening in the crowd and act. Sadly venue security often sucks but at least he's there, always watching with a sharp eye, keeping the crew and fans safe ❤️

[iscariotapologist]

mysticism is about mutual desire and surrender and, crucially, doing the dishes

[britcision]

Someone confiscate the Kabumisu Rapunzel AU from me, I am not starting a long form anything until my DPxDC novel is done but also I am ONLY capable of doing it wrong

Because:

Kabru MUST be Rapunzel. Mandatory. Milsiril is not letting that little bitch out of her tower. (Also his Main Character Energy)

Mithrun has less than zero drive to do anything ever up to and including wandering around in lonely tower infested woods to find said lost princess

These can only be resolved by Mithrun also already being inside the tower and then we’re into Beauty and The Beast territory too with the Forbidden Room but instead of Cursed Flower there is Cursed Hottie

Tbh Labrumisu would solve this problem where’s my threesome shippers we need ONE (1) character with some goddamn initiative

(Sadly still can’t be me I do not ship Laios in general he’s just not got that Ship Juice)

Milsiril just has such perfect villain vibes and okay I’m selling myself on the Labrumisu because if Laios comes in to kidnap one of her babies (and her broken former coworker) there’s a 50-50 on whether Milsiril just decides he’s young enough to adopt

This is now a main character hoarding situation Falin and Marcille have to come rescue Laios and also his boyfriends from the crazy sword elf and her army of dolls

Which is why I can’t write this one.

Look at that.

Look what happened in like 5 bullet points.

The rails have been OBLITERATED but also it’s just got such good legs someone take this idea and run with it to somewhere very different and much simpler than I am capable of

[softpine]

she's looking especially sacrificial lamb today 🥩