#Idk man just a ramble post but I just

[jupiter--dream]

I can't take it anymore 💥💥

Au where Nightmare wants to force Dream to eat a black apple, supposedly "to inflict in them the pain NM had to go through"... Except subconsciously, and covered by a layer of denial, he just wants Dream to corrupt so they can be on the same team (wish I didn't have to say this but NOT IN A SHIP WAY PLS) 💥💥💥 (more rambling in the tags as usual✨)

[bigchumpus]

Grian doodles ᕕ( ᐛ )ᕗ

[littlelightfish]

I would like to remind people that Chilchuck hasn't seen his wife in 4 years.

So he maybe wasn't there to see his daughters become adults, but he was there for the majority of their childhood.

When he left, Mayjack and Flertom were 12, and Puckpatty was 10. They reach adulthood at 14, so maybe yes, he was absent when they were still kids, but that doesn't mean he didn't maintained contact with them afterwards as far as I know. The thing he uses around his neck was a gift from Flertom, and he was using it when he met Laios's party.

[kazumist]

perhaps making peace with the reality of not being loved in this lifetime is tough for others—after all, it was tough for you. begging yourself to not get yourself hopes up every time because you knew where it would lead you wasn’t easy.

yet making sure to get used to being alone is the hardest part. at night, you made sure that you’re okay with sleeping alone and that it’s acceptable for you that the other side of the bed would not have a familiar warmth lingering in the sheets. it would be easier to save money when you’re sure that no one would come over for a meal (when you’re sure that you don’t have to buy silverware in pairs so your kitchen cupboard can get touched by cobwebs).

you know you made peace with the reality of not being loved in this lifetime. your skin would decay without being touched by intimacy. one’s hands would fear to let their fingertips near something that’s filled with scars that run deeper than their fears—something so unworthy. you have long accepted that your heart would just be an organ that you would need to live, that it would always be locked within the bones of your ribs, hiding it from the cruel world outside.

pathetic, is it not? to adjust yourself to the thought of spending the rest of your lifetime alone.

you were fine with that (or so you thought).

everything changed when hayato suo came crashing into your life. literally.

it starts with a common occurrence of some other delinquents who couldn’t leave you alone. then you two would see each other often in the streets, and then there were times when your visit to kotoha would collide.

hayato was a gentleman; that information is nothing new. but in some sense, he’s truly a gentle man. the exact moment when his fingertips brushed against your knuckles accidentally was when the peace you made within yourself turned into chaos. the feeling of his fingertips was soft and gentle. your whole body was screaming at you, raging for an outlet.

you didn’t make peace with the idea of not being loved. you were just scared that the fate of being in love would doom you—that this whole belief in love that people seem to believe in would shred you in shambles. yet with only one glance from hayato suo was enough for your high walls to crumble into dust. you could always see an unfamiliar glimmer in his eye when he gazes at you. is that what they call the look of love?

it was a foreign thought to you that someone would ever look at you like they could mend even the most broken parts within yourself. that they could heal the deep scars from within. yet with hayato suo, it all seemed so easy with him. hell, you didn’t even believe that your heart would actually make room for him.

before you knew it, you had already bought an extra set of silverware and dishes for one person—and an extra mug just in case he comes over.

you hope that he does.

[red-might-be-dead]

vyncent sol blog simulator

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q

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hi guys its me, william, i made vynce a tumblr account so he can see my poems. wisp out. 🥀

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vyncent said he wanted to do the username though that wasnt me 🥀

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Foudn uyo.

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liked by dakotaiscoming

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poem #16627 - wolves again

~𝓶𝔂 𝓱𝓮𝓪𝓻𝓽 𝓲𝓼 𝓪 𝔀𝓲𝓵𝓽𝓮𝓭 𝓻𝓸𝓼𝓮 𝓶𝓪𝓭𝓮 𝓸𝓯 𝔀𝓸𝓵𝓯 𝓯𝓾𝓻 𝓪𝓷𝓭 𝓼𝓪𝓭𝓷𝓮𝓼𝓼 𝓲 𝓯𝓮𝓮𝓵 𝓵𝓲𝓴𝓮 𝓽𝓱𝓮𝓻𝓮 𝓪𝓻𝓮 𝓽𝔀𝓸 𝓽𝓱𝓲𝓷𝓰𝓼 𝓲𝓷𝓼𝓲𝓭𝓮 𝓸𝓯 𝓶𝓮 𝓽𝔀𝓸 𝔀𝓸𝓵𝓿𝓮𝓼 𝓪𝓷𝓭 𝓽𝓱𝓮𝔂 𝓪𝓻𝓮 𝓯𝓾𝓬𝓴𝓲𝓷𝓰 𝓬𝓱𝓸𝓸𝓼𝓮 𝓽𝓱𝓮 𝓹𝓪𝓽𝓱 𝓸𝓻 𝓫𝓮𝓬𝓸𝓶𝓮 𝓪𝓷𝓸𝓽𝓱𝓮𝓻 𝔀𝓲𝓵𝓽𝓮𝓭 𝔀𝓸𝓵𝓯 𝓻𝓸𝓼𝓮~

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Huh

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q

12 notes

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Aoes anoyne knwo how to fxi this.

#Accident

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#Another one.

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Yuo ever thinj about murder

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thats wrong vyncent 😢

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Tehy shoufl make murder elgal

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No.

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for me

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q

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hi again! its me, william, i took vyncent's phone off of him while he was sleeping, wanna ask me anything? 🥀

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[wanna talk about boys voice] is vyncent sleeping next to you 😳right 😳now 😳 omg are you stroking 😳 his 😳 hair 😳 and playing 😳 with 😳 his 😳 fingers 😳

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no more questions. wisp out. 🥀

13,390 notes

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fyck not agina.

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i finally got that dumb fucking cat on my island. im not letting him leave. ever.

youre mine. raymond.

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Who

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oh, to be as ignorant as you, you sweet summer child....

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Huh

12,430 notes

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Gto a new knife.

#Coolest

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q

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why do you keep posting the letter q? 🥀

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q

2,054,630 notes

[bread-wizards]

Love Laudna wanting Orym to be the one to cut her down if need be because she feels he can make hard choices, and Travis like "uh hello? What about Chetney? You want to put Orym through that anguish? I am right here" like damn, he right tho

[moonlit-dreamers]

honestly im really enjoying the plot in mgafs but especially bc of eclipse and how he is as a character

hes become something more neutral. he isnt a villain nor a "good guy". hes just. a guy. he doesnt even want to be here but he doesnt have much of a choice. he tolerates ppls existence as much as he can without exploding. he does care about ppl but he hides it under a guise of "im doing this for myself and anyone who benefits from this is just a side effect" and honestly i love that so fucking much. like. he very much gives a shit about earth and at one point emphasized that she would not get hurt. tho when questioned about it he dodges the question. in fact, every time someone brings up earth and how defensive he is he avoids it. i feel like not even he himself wants to confront how he feels

then theres also puppet. their relationship is like the extrovert adopting the introvert type thing (its also like that with earth but puppet is more forceful and the more "ur never getting rid of me" type). he, again, doesnt admit that he cares. and honestly he probably didnt give a flying fuck about her in the beginning. the main reason he even went on the whole quest to help with the other puppet was bc he would also be effected, even if he was in another dimension (also bc he didnt want it to hurt earth but shhhh). but now he does seem to show some form of concern towards puppet at certain times. its also incredibly entertaining to watch puppet keep pushing at his limits. makes me think of that one video where a crow kept fucking with an eagle. just kept nipping and getting in its face then running away. thats what it feels like lmao

also like. almost every time he defended someone theres always been some kinda excuse he could make that gives him an out with saying that it was also for his benefit. probably the only time he defended someone and wouldnt get personal benefit out of it was when he confronted ruin and told him to keep earth out of it. tho, luckily for him, nobody was there to witness it and question it (unless moon was there bc i dont remember it exactly >.>).

which, yes, probably a lot of things that he does is for his own benefit. but he'd be completely fine with abandoning the ppl he was helping. in multiple situations he didnt have to help them. he wouldve been just fine and able to get out of the situation without them making out with him. and yet he did. and yet he purposely made room for them to follow.

idk man. just watching him develop as a character and going from someone who didnt give a flying fuck about anybody into actually giving a bit of a shit is fascinating. also even more entertaining to see just how desperately he tries to hide it

[beachbears]

I made these like a year ago for a friend group presentation and I never had the guts to post them until now

[monochrome-stars]

also maybe because these are super acidic, that makes them like that maybe??? sidenote however, lemons/limes dont affect me so maybe im just .funky idk

[sonic-adventure-3]

i’ve always personally thought that shadow has a more specified skillset and sonic has more overall potential. they come up about equal most of the time but if sonic gets serious then he wins. shadow relies on more specific skills and aids like chaos manipulation and his skates to close the gap. he’s operating near the upper bounds of his potential at all times, there’s desperation and super forms and shit that’d let him be even stronger, but generally he’s just about as strong and as fast as he could possibly be. sonic however, sonic could get infinitely stronger with sheer force of will and time. i don’t think he’s holding back or anything, i just think he has no interest in the pursuit of perfection. sonic is exactly as powerful, as fast, as he wants or needs to be, plus some.

[umem1ya]

"I adore you // love you too baby" YOU COOKED SO GOOD ACTUALLY, love the characterization details in ur works!!

HEY ANON LOL DO YOU WANT ME TO CRY??? DO YOU WANT TO SEE ME CRYING MY EYES OUT?!?!

but hm hi. 🤚 hello thank you for speaking about that hello hiiii 🤚 can I talk for a second about it pls 🤚

about endo never truly learning the idea of being lowkey about anything. about him being intense in every aspect of his life, about loving and being infatuated so deeply by everything he even dares to care about.

about how being in a secret relationship would hold him back so much. and he'd be pissed about it but he would understand it so well because he doesn't want to give up on fighting and also he doesn't want to give up on you. so it's whatever, he will try it. for the sake of having fun without hurting what you have, he will try it.

I wrote that part specifically by the idea of his s/o being aware of who the relationship is with. you gotta know that he adores the ground you walk, that he's obsessed with being around you, just like he's with other things, and that just means he loves you. its kinda fucked up. but when he says those stuff you can only hear "I love you" and honestly, takes a while to get used to it, but what else can you ask?

it's about the idea of helping him through it too, you know? constant reminder that when the infatuation is gone, there's still love. when the fights aren't fun or when shit happens, things get messy, there's still your love. :)

[welcometogrouchland]

I miss them so bad (Dick and Damian)

[godnectar]

showered, getting sleepy + entering chilling mode, and now 'm somehow fighting the urge to ramble + shitpost abt yandere santa, dilf ver. 🥴

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[employee052]

this is your reminder to make ur cringy n self indulgent art bc cringe is dead and you gotta live life (I say, despite the fact i still feel a bit cringe but im being so brave abt it)

lettin myself post n do more art for myself so apologies for the more selfshippy art than usual

[tigers1o1]

This may be a boiling hot take, and you can cancel me if you want but

Ive seen more “we need to appreciate jay ferin more :( everyone only likes the gay boys :(“ posts than i have posts that actively mischaracterize Jay. Just because a character isnt a fan favorite, doesnt inherently mean the fandom is sexist or that we only care about Chip and Gill, and for the record- boiling chip and gill down to just “the hot yaoi men” in ur jay appreciation posts is just as bad as the “babysitter jay” stuff. Boiling down those two characters to a relationship they dont even canonically have is completely ignoring their canon growth. And I’m THE fnc guy. Like- OBVIOUSLY i love to ship these characters but i understand them on a much deeper level than that.

If you want to talk about how jay is your favorite character, go for it! But dont shit on other people for their favorites. A LOT of people personally related to Gill and Chip, and that isnt to say they dont like jay or dont understand her character.

I get being frustrated that your fave is being misinterpreted, but dont blame the entire rest of the fandom for it dawg, esp when from what ive seen, jay is JUST as popular. Isnt not even that she isnt a fan fav- SHE IS.