I love the dramatic, triumphant reveal that wolverine and deadpool survived the time ripper, mainly because i'm 1000% sure wade heard paradox monologuing™️ and was like "nonono hold on we have to wait for the Right Moment" and logan, who is 7 different kinds of exhausted at this point, was like "....yeah ok lol"
which leads to 2 grown ass men hiding behind a corner just waiting to ruin this british man's afternoon? logan really went from “i'll kill u with my teeth” to “yea sure i'll commit to your stupid bit” in like 2 days, honestly what a lad
i was obsessed the first time i saw someone post leon on that stupid panda rocker but i was never able to find raw footage of it lol, so i decided to compile leon with all the playground interactions because i love him <3
i personally think gifmaking should be a paid marketing strategy and gifmakers should be given special hd files through legal channels by networks in order to ensure proper promotion of their show with minimum effort on their part
at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
inspired by seeing screencaps where the software is offering (terrible) style advice because I haven't used a software that has a grammar checker for my stories in like a decade
if you use multiple applications, pick the one you use most often.
ENCYCLOPEDIA [Medium: Success] - Ah, a fumo. Derived from the otomatopeia of touching something soft, mofumofu. They are particularly famous among fans of Touhou, a Japanese multimedia franchise, for being particularly rare and hard to find. Lucky you! This fumo depicts the character, "Patchouli."
INLAND EMPIRE - Keep her close. Her softness and disaffected stare will ward against the coming darkness.
SAVOIRE FAIRE - Wait, did you say rare? I bet we can pawn it for a quick réal. Think of all the cool stuff we could get.
SHIVERS - Numbness creeps up from your fingertips, crawling into your spine. Across the bay, young man mourns the loss of the crown jewel of his collection.
ELECTROCHEMISTRY - Yes. This will do. You know what must be done.
RHETORIC [Legendary: Failure] - Uh, do we? Maybe its one of these political things. They haven't failed us yet.
1. Feed the bloodsucking landlords to the meat grinder?
2. Feed the ungrateful workers to the meat grinder?
3. Feed the ungrateful workers *and* foreigners to the meat grinder?
4. Let the meat grinder starve?
ELECTROCHEMISTRY - No, you communard. Do you really not remember? Dig deep and recall what it is that must be done.
VOLITION - Don't. It will only cause you more pain.
1. Do I have to?
2. I don't like the sound of this...
3. Does this have to do with the ex-something?
4. [ELECTROCHEMISTRY - GODLY 16]
Low
25%
+1 Something about rainbows...
+1 Saw preserved jams.
-1 It's better to forget this.
This is a Red Check.
It cannot be retried.
⚅⚅
Check Success!
YOU - Your neurons fire in tandem, dredging through every scrap of information left in your hungover, burnt out mind, until you unearth something truly terrible.
I decided to redraw one of my earliest Tintin fancomics! I've been drawing Tintin fanart for a bit before I started posting online.
I can imagine Tintin having a tumultuous relationship with his editor, hardly ever being in the office and having a very low rate of writing articles. Tintin's increasingly liberal politics also clash with the newspaper's conservative values. Tintin and his editor frequently argue over this but Tintin almost always wins out, as he is aware that it is his articles that sell the paper. His editor is reluctant to let go of his golden goose.
More headcanon under the Read More! It's background stuff and things about his editor.
Tintin started his journalism career at just 14, and seeing the dangerous situations he is sent into in his early stories suggests to me that whoever hired him didn't have his best interests at heart. I can imagine his editor taking advantage of Tintin's ambition and naivety, while styling himself as a sort of father figure to the newspaper he runs. I based him off of the editor we see at the very start of Tintin in the Land of the Soviets!
His editor hires him after Tintin demonstrates remarkable skills in investigative journalism, uncovering local corruption for his school paper. He takes advantage of Tintin's naivety, sending him off to various countries to write conservative propaganda pieces for the paper. He hopes Tintin will be easy to groom into a conservative pundit, but after witnessing atrocities and coming into contact with people from different walks of life, Tintin finds himself unlearning a lot of harmful beliefs he was raised with. After he earns global recognition in Tintin in America, Tintin leverages his star power to ensure less editorial interference with his work. His journey away from conservatism is kickstarted upon befriending Chang, who directly challenges a lot of his preconceptions.
Tintin stays with the paper under the misguided belief that he can steer the publication in a better direction with his influence. Deep down he also feels he owes his editor, as it was him who gave Tintin a platform and an oppurtunity to escape his situation, being raised in an orphanage and being deeply unhappy in school. His editor also frequently points out that other papers will not be as lenient with his low turnover rate of articles, and that he's lucky he's still with them.
After Tintin gets Chang a job there as his photographer, Chang ends up befriending a lot of the staff. He's one of the few non white staff members there, which causes quite the stir. While Chang is grateful for the job, he becomes increasingly uncomfortable with working for them the more he learns about the paper. He tells Tintin that by staying there, he's only legitimising the publication.
Tensions at the paper start rising as political tension rises in Europe. Tintin, Chang, and a lot of staff notice their editor acting erratically and making strange demands...