#I'm not making fun or anything

[sabertoothwalrus]

appreciation post for the second half of dungeon meshi where senshi clearly starts treating chilchuck more like an adult. and also how the two of them start looking incredibly married

[nekrosmos]

Okay more memes it is then

Part 1 / Part 3

[be-an-echo]

✨ girl dad Joel ✨

made for @kokureno

[merrigel]

I want it back = I drag its dead weight forward

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 5: Flip Slip.

(Part 1, Part 2, Part 3, Part 4, Part 4.5)

[milkywayes]

GARRUS VAKARIAN: DATABASE IMAGE ACCESS. > PT. 1 : 2160, 2166, 2170. > all files backdated according to user preferences: (terran_coordinated.calendar).

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[erinwantstowrite]

the haters are trying to get me to care about canon. they're trying to get me to only fuck with canon. newsflash you stupid bitch if you are in a fandom space you are consuming fanon. i don't CARE that it's canon that bruce wayne has hit his kids in canon. i make my own world where it's common fucking sense that heroes are good people who would not be abusers. "human flaw" this my ass that motherfucker drives a Batmobile and wears a Batsuit and throws around Batarangs. live in a suspended belief and have fun before you dry up and die a sad raisin of a being

[sunnymainecoon]

I know damn well I misunderstood the assignment but we roll, I'll understand it some day

It's killer and dust btw. If you couldn't tell. Which you probably couldn't.. forgor to say but shhh 🤫 Killers having a convo with himself..

..I kinda wanna change my url but idk to what

[remnantglow]

made a murderbot cosplay for a con last week!

[myballsitchaurghouchie]

Mannnnnn i don't wanna figure out Shamura's design

[2boldlyqueer]

Listen, I know we're all exhausted, but we gotta get better about adding image descriptions to disability related stuff. Everyone should be IDing everything anyways, but there's a particularly cruel irony in disability related stuff not being accessible to folks with low/no vision.

[bixels]

What's K.O. CRISIS?

Hey all. Over the past couple months, I've gotten a lot of followers who probably don't know about my OCs and portfolio projects that I'm also working on, so I'm making a quick master-post for it!

K.O. CRISIS is a series of artwork––character designs, illustrations, sketches, and animations––inspired by late-90s/early-2000s anime and Y2K culture.

Set in an alternate-history Los Angeles in the year 2001, the story follows disabled Taiwanese-American Ashley Tang as she fights her way to the top of the bracket in the national augmented boxing championship.

As the youngest female fighter in the championship, she'll have to fight tooth-and-nail to defend her place amongst the heavy-weights. While her rare dual arm prosthetics help even the playing fields, it'll take more than brute strength to prove her worth.

But this isn't a story about an underdog triumphing against all odds. Throughout the story, Ashley will push herself to the limit for the sake of validating her existence under the grinding heel of the sports media machine, in a world that values disabled bodies more than their lives. As the championship rages on, one question seems to linger through the roar: Is Ash strong enough to win, or is she brave enough to quit?

Through the project, I'm hoping to explore representations of prosthetic-users in pop culture as "enhanced superheroes," as well as discussions of trans-humanism under medical capitalism, the fetishization of new technology, and the commodification of disabled people as entertainment.

Accompanying her journey include characters like Noora Balakrishnan, a local transfem prosthetics engineer who doubles as Ashley's ringside mechanical cutwoman.

The project is still in its early stages, especially since I sorta rebooted it earlier this year (meaning I'm no longer using past, outdated art for the project). If you enjoy it, you can find more artwork for the project under the #ko crisis tag!

[oddberryshortcake]

Not to be annoying, but it's still crazy to me how people will still write Silver off as a 'nothing' or boring character when he has some of the craziest lore any twst character has had so far.

How do you see a character that is the prince of a fallen kingdom and the biological son of Briar Valley's worst enemy (and murderer of Malleus's parents) spelled to sleep for 400 years, raised by fairies and possessing princess-like traits of beauty and friendship with animals, and someone who is one of the nicest people in NRC, as nothing.

How is that nothing to you 😭 Every character in twst genuinely has something really interesting going on, it's what I love most about the game

[hexesandroses]

Listen, I'm not here to dictate how you should interpret Dottore's character, I'm really not; but the one misconception about him that really kills me is the idea that he's a "sadist who experiments on people for fun". Where in the world did people even get that from?

Here's the truth: Dottore experiments on people because he thinks he should. Because, if experimenting on someone will get him the results he desires in his endless pursuit of knowledge, then he will not think twice before going through with the experiment regardless of how cruel it is. Tighnari, while recounting his conversation with Dottore, says, "he never came off as malicious, but an utter lack of compassion permeated throughout our conversation". That's who Dottore is - someone lacking compassion for people, someone who sees himself as greater than the others (whilst also seeking recognition in his homeland, but that's a separate can of worms that I'm not opening today). Dottore won't think twice about how his subjects feel because he does not care; there is no pity nor excitement, only a need for results, answers. So... the next time someone says he's a sadist, just keep this in mind: he's literally not.

[hivemindscape]

the buddy-buddy act ends now