#DON'T CARE ABOUT THE PRESENTS

[solaress-s]

a development has been made within the marching band and i will now have "all i want for christmas is you" stuck in my head until at least november

don't do this to me, mariah

i beg of you

all i want for christmas is not to have that song in my head

[bunnyboy-juice]

NO MORE ASSOCIATING THINGS WITH FEMMES ONLY BECAUSE THEY ARE PINK!HYPERFEM FEMMES ARE GREAT AND I LOVE YOU CAMPY FEMMES WHO EMBODY PINK BUT ALSO JESUS CHRIST CAN YOU GUYS NOT GO MORE THAN ONE DAY W/O TRYING TO SHOEHORN FEMMES INTO BEING ONLY PINK UWU BABIES. I AM FEMME AS IN GRASS AS IN DIRT AS IN TREE BARK AS IN WEEDS SPROUTING THROUGH THE SIDEWALK CEMENT. FEMME AS IN GENDER NONCONFORMITY AS IN FUCK YOU MY FEMININITY IS WHAT *I* SAY IT IS. FEMME AS IN DEPTH AND DARKNESS AND WARMTH AND TERROR. FEMME AS IN CAVES. FEMME AS IN LIGHTNING. FEMME AS IN AN AMALGAMATION OF TRAITS THAT I HAVE DECIDED ARE FEMININE REGARDLESS OF WHAT SOCIETY SAYS. FUCK IS IT THAT HARD TO UNDERSTAND?!???

[serpentface]

Faiza performing the Kagnoma Odo (pretty literally 'lion dance'), a weapons dance and one of the more important ritual duties of Odonii priestesses. A relatively new addition to this traditional dance involves the musket as the primary weapon, which is fired mid-twirl into the ground at the climax of the dance. Faiza is experiencing an 'oh fuck' moment because her shot is more than ideally diagonal, but she’s being so cool with it.

This is a wholly ceremonial performance at the onset of the pilgrimage, performed in full regalia and lion skin (of the small, semi-domesticated strain) but no armor. It’s also distinctly a display of political allegiance between the powerful and beloved Odonii priesthood (and its loyal military) with the increasingly reviled and destabilized imperial family, with Faiza prominently wearing a bracelet of the royal serpent, which was gifted (along with the musket) by the usoma Stavis Amanti himself (Usoma is the Wardi word for king, which has been retained in the context of emperors).

The Kagnoma Odo is the ultimate demonstration of the Odonii as an embodiment of the Lion Face of God and living vessel of military might and sovereignty, demonstrating her fitness and proficiency with weapons and as a spiritual unifier for soldiers. It is accompanied by drumming and occurs in stages, running through the three keymost weapons used in war- the spear, the sword, and the musket. The musket is of the most significance, given the weapon has developed a particular esteem as the ultimate embodiment of might and superiority. Assistants (almost always other priestesses, occasionally high ranking soldiers) load and prime the musket to be fired at the climax of the dance, where it is shot into the ground as the priestess leaps out of range of the shot. The firing signals the end of the dance and the rite itself.

While not the utmost exemplar of trigger discipline, only fully inducted and senior (and therefore very thoroughly trained) Odonii are permitted to perform the dance, and injuries during actual performances are quite rare (though are known to occur during training, more than a few Odonii have burns and wounds on their feet).

The most important renditions of this dance are performed upon declarations of war and before battles (in this case, generally done in full armor along with the lion pelt). It is also done during some trainings (while a dance, it is carefully choreographed to include naturalistic maneuvers of the weapons involved and helps soldiers limber up and learn to move their weapons). It is regarded as an impressive and motivating sight and a morale booster, and, seen at a distance, potentially intimidating to enemies.

A special variant of this dance is performed as means of fully incarnating the Odomache, which is done in full nudity with the body covered in the blood of the freshly sacrificed lion and cloaked in its raw pelt (the lion has become the corpse of Odomache in the moment of death, as part of its recreation of God's sacrifice). Her public, full nude appearance once (and only once) in this act is what allows the Lion Face of God to incarnate within her. Those in attendance see the spiritually vulnerable, naked human body obscured with the sanctified and deified blood and cloaked in the sanctified and deified skin. It is a merger of the contradictions of mortality and divinity, the boundaries between the two indistinct in flickering firelight and the flash of musketfire. She is witnessed by her people, dangling in between humanity and divinity and leading them in dance, and and is thus transformed.

[psymachine]

hear me out: you, me, dennis, and god all know he looks good in lingerie, but maybe he's a little bit unsure what mac "the problem is you're into all that early 80s glam rock femme shit; definitely had masc4masc in his grindr profile" mcdonald will think of it

[italyveneziano]

Obsessed with what America and England have going on in HetaOni. America's like "I keep having to watch my dad die from overusing his magic in past timelines and not knowing how to stop it is killing me inside but I'm not going to talk to him about it" and England's like "I can't seem to hold a conversation with my son without insulting him but I won't hesitate to use my dying breath to ensure I can protect him from beyond the grave"

[starryeyeddreamer21]

Hazbin Hotel Incorrect Quotes

Angel: *sliding money across the bar to pay for his drinks* You can call me sugar daddy longlegs

Husk: no

Niffty: Does that make Husk sugar baby shortlegs?

Husk: No

Niffty: Can I be sugar baby shortlegs?

Husk: NO

Angel: *wheeze*

[lovegrowsart]

tui & la, yin & yang, and zuko & katara (+aang)

okay. i'm not interested in shipping slapfights, but i came across a specific pro-k/a argument and my mind simply won't let me rest until i write these thoughts down, so here's some meta about zutara symbolism and how, even if it was bryke's intention or retcon or whatever tf, symbolism related to complementary and interconnected opposites and balance, simply doesn't work with k/a's canon relationship dynamic.

first of all, the argument i saw that tui and la in the show are somehow not meant to be taken as yin and yang (or at the very least a representation of it) is... a very interesting one, considering they're designed to look exactly like the yin yang symbol, and koh literally describes them as such. he isn't just bringing up yin & yang because tui and la are, like, similar to them? but because that's what they are.

koh says tui and la are push and pull (the literal translation of tui and la from chinese) to describe what they are, and then says they are good and evil, life and death, yin and yang, to furthur describe the inherent nature of their relationship. this is a kid's show. the symbolism is meant to be this easy to parse. who is watching the koi fish merge into the literal yin yang symbol, quite possibly one of the most recognisable symbols in the entire world, and thinking "oh, but they're not really meant to be yin & yang!"? some k/a shippers, apparently.

now, you might say, but yin & yang aren't good and evil? isn't that a simplification or misconception of the concept? and yes, actually, i would agree with you, good and evil isn't exactly how i would describe yin & yang to someone (though there are schools of thought that do assign a moral dimension to yin & yang!), but if i was writing, again, a kid's show and wanted to get my point across with simple yet evocative language about the relationship between these two spirits symbolised by an complex and abstract real life spiritual and philosophical concept, i can see how "good and evil" works to explain yin (la) as negative and yang (tui) as positive. the text and visual language of the show intentionally links the ideas inherent to yin & yang to tui and la. you can't just retroactively separate them because you want tui & la to represent k/a, but you know that doesn't work if they're yin & yang because canon k/a just doesn't fit with that kind of symbolism.

the k/a argument that tui & la represent katara and aang just fundamentally doesn't work with how both are presented in the show. tui (the moon) is the white koi fish - the light side, representing yang, which is active, masculine, postive, fire etc. la is the black koi fish (the ocean) - the dark side, representing passivity, feminine, negative, water etc.

katara as the moon and aang as the ocean just doesn't map onto the specific symbolism evoked by how tui & la are presented visually and thematically in the show. tui & la are specifically described to balance each other, which just... isn't how k/a's canon dynamic is written. "aang gets angry like the ocean spirit and katara as the moon spirit pulls him back and calms him down" isn't how i would write or describe a balanced relationship, it's what i would call katara being aang's emotional crutch for three seasons with little support in return to "balance" them. k/a's canon dynamic is notably imbalanced, so if even symbolism pertaining to balance was meant to represent their relationship, bryke and the writers did a pretty piss poor job of making that symbolism present in their actual relationship. it's also a complete mischaracterisation of the yin & yang symbolism that is, again, explicitly tied into tui & la per the text and visual language of the show. not only is "katara and aang balance each other and when they're apart, they act recklessly and have to pull each other back from the brink" a reading of their relationship not particularly supported by the text of the show, that's also just... not how tui & la/yin & yang are actually characterised in the show or in real life.

furthermore, the argument that "good and evil" as it relates to tui & la and yin & yang doesn't work for z/k because "zuko isn't evil in the end" or "katara isn't evil at all" completely misses the forest for the trees in how the symbolism ties into the show's overarching themes and z/k's relationship specifically. the storytelling here is much more metaphorical and psychological than it is literal.

the whole point of yin & yang is that they are interconnected opposites, simultaneous unity and duality - zuko is as capable of bad as he is of good, and in turn, so is katara. this is true of every other person and character, of course, but zuko and katara specifically have important story beats in their respective arcs where they are shown the "light side" (zuko learning from the dragons) and "dark side" (katara learning bloodbending) of their respective elements (and their elements only compound their yin & yang symbolism, since fire and water are regarded as physical/natural manifestions of the yin & yang cosmological cycle). one of the most notable story beats of katara's arc is when she explores her "dark side" by going after yon rha (ymmv on how "dark" that really is, but i'm going with how the show presents this part of katara's journey), which is something the other members of the gaang (besides zuko ofc) don't really go through in their arcs - aang, sokka, and toph aren't written to confront the duality of their nature, their worldview, their moral character, their bending, the way that zuko and katara are.

part of me is struggling to even explain this because it's just, idk, really obvious to me. zuko and katara are fire and water, "evil" and "good" (they literally face off in the b1 and b2 finales! either of their literal and actual morality isn't actually all that relevant to how the symbolism works), of course they're yin & yang? and since tui & la are how yin & yang in the atla universe is presented to the audience, then that means they are tui & la too (symbolically, obviously, not literally).

yin & yang fundamentally transform each other the way zuko and katara do. for every advance, there's a retreat; for every rise, there's a fall. book 1; zuko falls, katara rises. book 2; katara falls, zuko rises. book 3; zuko falls, katara rises. you rise with the moon, i rise with the sun. an eternal dance as the both of them learn and grow and confront their own false dichotimies, learning how a world of seemingly opposing and contrary forces is, in fact, interconnected and interdependent.

like. c'mon.

[dyn3m1ght]

☆ mha sexuality hcs nobody asked 4 !

izuku - bi

katsuki - gay / asexual

ochako - bi

tsuyu - aroace

kirishima - straight / ally

mina - pansexual

iida - straight / ally

shoto - aroace

kaminari - bi

shinsou - gay

jirou - bi

momo - lesbian

sero - straight / ally

hagakure - pansexual

tokoyami - aroace

toga - bi / pan (ITS CANON)

shigaraki - unlabled cuz he doesn't care

dabi - also unlabled cuz he doesn't care (still queer in some way)

aizawa - bi

mic - gay

all might - straight / ally (very supportive)

mirko - lesbian

hawks - bi / pansexual (I can't decide)

nejire - straight / ally

tamaki - unlabled but most definitely queer

mirio - bi

[black-and-yellow]

Is this one of the cringe-est things I've drawn? Maybe. Still posting it, though.

Is this enough Loudspeaker skins yet.

[add1ctedt0you]

What a plot twist you were. [x]

[uncanny-tranny]

It's just... odd to me, I suppose, going from "what is in my pants is completely irrelevant to most anybody else's life" to the expectation that you must be completely open, essentially, about what is in your pants.

I think a lot of people understand the general idea of why it's bad decorum to demand people offer explanations for private information like this, but they don't analyze exactly why it's bad besides, "asking directly is just rude" and not "asking in any way still enforces the often violent nature of gender and sex, and putting people in the 'right box' is a part of that violence."

It's especially odd when seeing other trans people enforcing the idea that "what's in your pants?" is a genuine, good-faith basis for interacting with others.

[benveydraws]

i can't love you in this skin

[gamebunny-advance]

Kun3h0!1010 (Sketch)

Since Kun3h0's design has gone through what will hopefully be its last iteration, I decided to also update the Kun3h0 1010s just for fun. They haven't changed that much since they were already different from Kun3h0, but I do think the little things that did change do make 'em a little cuter.

I actually lost the original sketch of Neon!GAB (and couldn't be bothered to search for it on the blog), so I just remade him from memory.

[detectiveneve]

alright with 30+ hours. I'm gonna yap about my personal itching beef, since I'm having a ton of fun. but.

I think by far one of my biggest issues with the game is how much they flattened out thedas' social & political landscape. maybe for ease, maybe out of fear of tackling their topics "badly," but the way that they both want to address tevinter's slavery, but have also extremely downplayed elven subjugation & oppression as a longstanding lore, is sooo... frustrating.

I think the story so far is pretty solid, I'm having a GREAT time, I enjoy all the cast, but it does feel like it could've been a lot deeper if they'd fully accounted for the breadth of these longstanding lore realities that come with magic & class & whether one is human or elven or dwarven. I've gotten NONE of that, AS an elf shadow dragon. davrin going "that'll endear us to the world..." about the gods being elven is insane -- elves are already oppressed under the structures of thedas! tevinter is where all of this STARTED. similarly, the lack of interaction between magic & class is like... craaazy to me.

these structures are present throughout the entirety of each game, it should feel different in each location. it just feels clumsy to both want to address the social issues of slavery, etc. present in thedas, and ALSO flatten out the differences between city elves & dalish, not emphasize it more especially with an elven origin... like wdym. wdym. that one of the biggest mentions of it with an elven rook is the scroll lore where rook goes "it's about time someone acknowledged what my people did..." about some guy who praised the elves. a shadow dragon elf rook will have been living with a very specific systemic structure of oppression for their entire life. WHY isn't that here. the story structure I'm having a good time with, the characters I'm having a good time with, but goddd it could have been so much deeper if it had actually incorporated some of the complexity & nuance of these social structures in thedas. you look silly trying to both include these themes of shadow dragons breaking slavery and ALSO pussyfooting around The Origins Of How We Got Here. that's not even getting into MAGIC, and how being a MAGE should mean something different in different places. like. whahrhrrhrhrhrr.

[ebonytails]

maybe im just dumb but what is the difference between kris p and kris t?

TL;DR - They are Kris Dreemurr fictives and we needed a way to differentiate them

Oh you're not dumb, don't worry! It really is a little confusing because we haven't talked about who they or we are in a very long time. I'm going to talk a lot here so you have all the context you might need! If it''s too long,, the TL;DR above is the gist of it.

For context, we are a system! You can read about it a little in our FAQ

Kris T and Kris P are TWO Kris introjects/fictives of Kris Dreemurr from Deltarune in our system.

Originally we just had Kris T who split in Dec 2018, and then when Chapter 2 came out, Kris P came into our system after that. Of course at first, Kris T. was just "Kris", but since we had a double now, we had to figure out how to differentiate between the two. We knew another Kris fictive from a different system at this time who was nicknamed P. Kris by Susie in our system, and susie wanted to emphasize who she was talking about.

SO. As a small nod to that, everyone decided to nickname Kris P as Kris P, as an inverse of P. Kris.

A little convoluted, I know!

Besides being Kris introjects/fictives though, they also look different! I made some new drawings to try and showcase their differences if that helps :3?

Their dark world forms also look different. Kris T's is simpler, with a shiny soft cape, while Kris P's is more complicated with a hooded cape, which is also described as "very comfortable"

Here's a whole Toyhouse of images of how Kris T. looks like right now! There's also his reference ! vvv

Sorry if you weren't interested in our "life story"! They're not just random characterizations (they are alters), so I wasn't sure how to answer w/o giving you some sort of explanation.

They have their own sideblogs, so if you have specific questions directed towards them, you can always ask here because we'll see it better, or you can send them an ask in their own blogs. Kris T's is @kristalpepsi, and Kris P's is @itswhattheycallyou

[belanova]

So sometimes whenever the Vampire age gap discourse happens i occasionally will see people bring up "Well who tf are the vampires supposed to date? Grandmas?" LIKE ACTUALLY YEAH WHY NOT, outside of the discourse Why is there fucking no Vampire-Gilf age romance I wanna see that more it, that would rock as hell 🥺