#6 word

[haridraws]

[lucidloving]

Emily L., Marguerite Duras // Bertrand Russell, What Desires are Politically Important? // Octavio Paz, "The House of Glances" // Mitski—Francis Forever // Chen Chen, When I Grow Up I Want to Be a List of Further Possibilities // VIVINOS and QMENG, Alien Stage (Round 6) // Bryan Fuller, Hannibal (2013) // Richard Siken, "Little Monster" // Christa Wolf, Cassandra: A Novel and Four Essays // Mitski—I Bet on Losing Dogs

[macarxncito]

Actor au IvanTill having matching piercings… actor au Ivan canonically having naturally curly hair… actor au IvanTill implying that they’ve been kissing off-screen… actor au Till having a high alcohol tolerance which means that blush there is a legitimate blush and not just him being drunk and bro is blushing at the notion of kissing Ivan… how am I supposed to recover from this…

[r-aindr0p]

Part 2 of the descent to hell 30 gems only as a reward after 20+ battles is criminal, I'm out there with R rank Riddle and Azul cards and surviving

[shisasan]

𝚂𝚎𝚙𝚝𝚎𝚖𝚋𝚎𝚛 𝟼, 𝟷𝟿𝟹𝟶 𝚃𝚑𝚎 𝚎𝚊𝚛𝚕𝚢 𝚍𝚒𝚊𝚛𝚢 𝚘𝚏 𝙰𝚗𝚊𝚒̈𝚜 𝙽𝚒𝚗, 𝟷𝟿𝟶𝟹-𝟷𝟿𝟽𝟽

[ihavesomejays]

on first loves yunqing lol they are silly that's it that's the prompt anyways i think this is like the first thing i've posted here that has an actual background which is kind of insane. i think you can tell i don't draw backgrounds very often. anyways yunqing is so ponytail puller annoying each other even though they've realized they like each other core and it's satisfying my peepaw heart

bg only/closeups under keep reading

[egophiliac]

I have SO many thoughts about everything and they are in no kind of order yet, so here's just some quick little bits in the meantime!

I am not normal about any of these characters!

[protosymphonette]

happy pride month everybody

[miraculouscoccixbite]

Something something Ivan wants Till to look at him.

Something something Till was the first to saw Ivan.

Something something Ivan didn't see Till hesitate

Something something Ivan only allows himself to show his feelings only when Till has his eyes close

Something something eye experiment

Something something matching red dot

Something something the first and final time he see Ivan he can only watch

Something something eyes and Ivantill. Seeing and not seeing

[abstractfrog]

THE GLORIA SCOTT - part 2, and a follow up to my comic for the first half of this scene! thanks sm to @crashingmeteorz for allowing me to source validation for my whimsical cosmic approach to this moment <3

[best-curse-word-tournament]

Best Curse Word Tournament!

pendejo (Spanish) /penˈdexo/ 1. a pubic hair 2. (Latin America) a dumbass, scumbag, or asshole, used as an insult and/or affectionate term

vittu (Finnish) /ˈʋitːu/ a cunt; used fluidly like “fuck”

[fictionproblem]

i was all over her

[lucidloving]

All images: VIVINOS, Alien Stage // Rixa White // Cassandra Clare, Clockwork Prince // S.K. Osborn, "A Hunger Like No Other" // Sing Shong, Omniscient Reader's Viewpoint // Sylvia Plath, "Dialogue Between Ghost and Priest" // Park Byungdae, STUDIO LICO, Yongsu Choi, & Manju—Cure // Renée Vivien // Tina Tran, "Until I started choking on our memories" // Mary Ruefle, "The Cart" // Jenny Slate, Little Weirds // Pablo Neruda, 20 Love Sonnets and a Song of Despair // Hozier—Francesca // Richard Siken, "Saying Your Names"

[starstrike]

Mithrun's desire as an SA analogue

TW discussion of SA and detailed breakdown of aesthetics evoking SA. The way I discuss this is vivid in a way that may be triggering, though there is no discussion of actual sexual assault. Just survivor's responses to it.

People relate to Mithrun and see his condition as an analogue for a few different things, like brain injury or depression. And I think all of them are there. But I also see Mithrun's story as an SA analogue, and Ryoko Kui intentionally evokes those aesthetics. I think it's a part of Mithrun's character that a lot of people miss, but I very much consider it text. This is partially inspired by @heird99's post on what makes this scene so disturbing; so check out their post, too :)

So to start off with, the demon invades Mithrun's bed, specifically. There's even a canopy around it, which specifically evokes this idea of personal intrusion; the barrier is being pulled apart without consent or warning. The way the hand reaches towards Mithrun's body from outside of the panel division makes it almost look like the goat stroking over his body. It's an especially creepy visual detail; similarly, the goat's right hand parts into the side of the panel as well. It's literally like it's tearing the page apart; but gently. So gently.

Mithrun is in bed. It is his bed that the demon is intruding on. He's in a position of intimacy. The woman behind him is a facsimile of his "beloved" that he left behind; the woman who, in reality, chose Mithrun's brother. He is in bed with his fantasy lover, who is leaning over him. While this scene isn't explicitly sexual, it is intimate. And it is being invaded. The goat lifts Mithrun gently, who is confused, but not yet struggling.

The erotics of consumption and violence in Ryoko Kui's work(remember that the word 'erotic' can have many different meanings, please) are a... notable part of some of her illustrations. I would say she blurs the lines between all forms of desire: personal, sexual, gustatory and carnal, in her illustrations in order to emphasize the pure desire she wants to work with and evoke to serve her themes. Kui deploys sexual imagery in a lot of places in Dungeon Meshi, and this is one of them.

In this case, horrifically. The goat's assault begins with drooling, licking, and nuzzling. The goat could be enjoying and "playing with" its food. But it can also be interpreted as it "preparing" Mithrun with its tongue as it begins to literally breach Mithrun's body. The goat also invades directly through his clothing; that adds another level of disturbing to me. There's nothing Mithrun can do in this moment of violation. Mithrun is fighting, but he is fighting weakly, trying to grip on and push away when he has no ability or option to. All he can do is beg the goat to stop. And it doesn't care. This all evokes sexual assault.

The sixth panel demonstrates a somewhat sexual position, with Mithrun's thighs spread around the goat's hunched over body. In the next, the goat pulls and holds apart Mithrun's thighs as he nuzzles into him. The way the clothing bunches up looks a bit as if it has been pushed up. It has pinned Mithrun down onto the bed, into Mithrun's soft furs and pillows. It takes a place made to be supernaturally warm and comfortable, and violates it. It's utterly and intimately horrifying. To me, this sequence of positions directly evokes a rape scene. I think Kui did this very explicitly. These references to sexual invasion are part of what makes this scene so disturbing; albeit, to many viewers, subconsciously.

This is also the moment the goat takes Mithrun's eye. Other than this, the goat seems exceptionally strong, but also... gentle. It holds Mithrun's body tightly, but moves it around slowly. It doesn't need to hurt Mithrun physically. But in that moment, it takes Mithrun's eye. Blood seeps from a wound while an orifice that should not be pierced is penetrated. This moment, the ooze of blood in one place specifically, also evokes rape. That single bit of physical gore is a very powerful bit of imagery to me.

Finally; it is Mithrun's desire that is eaten. After his assault, Mithrun can find no pleasure in things that he once did. He is fully disassociated from his emotions. This is a common response to trauma, especially in the case of SA. It's not uncommon for people to never, or take a long time to, enjoy sex in the same way again; or at all. They might feel like their rapist has robbed them of a desire and pleasure they once had. I think this makes Mithrun's lack of desire a partial analogue for the trauma of sexual assault.

Mithrun's desire for revenge was, supposedly, all that remained. Anger at his assaulter, anger at every being that was like it; though, perhaps not anger. Devotion, in a way. To his cause. I don't know. But the immediate desire to seek revenge is another response to SA. But on to Mithrun's true feelings on the matter.

This is... So incredibly tragic. Mithrun feels used up. Like his best parts have been taken away. Like he's being... tossed aside. This certainly parallels the way assault victims can feel after being left by an abuser. Or the way assault victims feel they might be "ruined" forever for other partners. These are common sentiments for survivors to carry, and need to overcome. In the text, it's almost like Mithrun feels the only being who can desire him is a demon who might "finish devouring" him. That that's his only use. It's worth noting that Mithrun trusted the demon. Mithrun's world was built by the demon, and Mithrun, in that way, was cared for by the demon. I think this reinforces Mithrun's place as a victim.

There's also something to be said about Mithrun as a victim of his own possessive romantic and sexual desire. The mirror shows him his beloved just dining with his brother, and it infuriates him. He doesn't know if the vision is real, nor if she has really chosen his brother as a romantic partner. The goat then creates a whole fantasy world where she loves him. As Mithrun's dungeon deteriorates, she is the only person that continues to exist. Mithrun continues to have control over her. And that is the strongest desire the demon is eating, isn't it? There's something interesting there, but I don't know what to say about it.

In conclusion, I think Mithrun's story is an explicit analogue for sexual assault-- though, certainly, among other things! The way the scene plays out and is composed explicitly references sexual violation and invasion of the body. His condition mirrors common trauma responses to sexual violence. And, at the end, he finally realizes he can recover.

Let's end on a happy Mithrun, after taking the first step on his journey to recovery :) You aren't vegetable scraps Mithrun. But even if you were-- every single thing in this world has value. Even vegetable scraps.

[shisasan]

6 February, 1936 Letters to Véra by Vladimir Nabokov

[danandfuckingjonlmao]

do you ever think about how we have phannies in every field? like we have doctors and baristas and mental health therapists and geologists and audiologists and engineers and neuroscientists and authors and social media consultants and activists and child care workers and museum managers and teachers and biologists and emts and linguists and accessibility coaches and sign language interpreters and artists and musicians and editors and actors and chefs and fucking EVERYTHING. not to mention the specific knowledge bases and hobbies we have outside of our professions—coding, linguistic and cultural diversity, artistic creativity, political/social awareness, passion for justice, research, make up and hair and fashion design, media literacy, philosophy, all of our special interests/hyperfixations, etc. we could run a successful commune no problem at all. we’re so smart and talented and resourceful and powerful.

the phandom is rooted in a past of being infamously shitty, and i do see yall slipping back into old habits sometimes (mostly on twitter but sometimes here and you know it <3) but it’s pretty fucking cool how capable this community is and our ability to unify. anyway phanmune when.

(if you want, leave your knowledge base/skills in the tags or replies. can be profession, hobby, major/program of study, what you study in your free time, what you want to learn about, what you’re interested, all of the above, anything)