#THAT'S SO PRETENTIOUS

[paimonial-rage]

I don't talk about it much, but I do have a small discord server where we talk about Genshin, Honkai Star Rail, lore, character analysis, writing, reader-inserts, and things of the sort. If you'd like to join in on the laid-back fun, here is the link.

[sentate]

SENTATE - The Sunset Collection

Blending beach days with date nights; The Sunset Collection is fresh set of romantic dresses that can be kept casual for the day or glammed up for the evening. Whether its a cheeky sheer mini dress or a showstopping silk gown, your sims are guaranteed to be sizzling by sunset!

This 8 item set comes in my 30 swatch colour palette plus 15 new print swatches.

8 Items Total / 30 Plain Swatches (+15 prints)

DOWNLOAD - Free on Patreon

MORE DOWNLOADS  |  TERMS OF USE  |  LINK TREE

[stealingpotatoes]

this is a real canon scene that happened they just forgot to put it in the movie (real) (my toaster told me)

[inkskinned]

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.

you create because you're greedy.

[freshfrenchtoast]

Kageyama's backstory only being revealed near the very end of the series is really interesting from a meta perspective.

For reference, his chapter is 387 out of 402. That's 96% of the way in.

To contrast, other characters like Tsukishima and Yamaguchi's backstories are shown in Chapters 87-88.

Now, we do get the explanation for his "King of the Court" title in Chapter 6, at the start of the series, but we don't see how he got to that point, or why he started playing volleyball in the first place like Tsukishima's and Yamaguchi's stories show.

It creates this situation where, despite being the deuteragonist, the character our protagonist, Hinata, is practically glued to the entire series, we barely know anything about him.

We don't even know he has a sister until that point whereas other characters' siblings like Natsu, Saeko, Akiteru, Alisa have all made appearances way before then. Even Oikawa's sister, though we don't see her, we at least know she exists because of Takeru.

He's both closed off to us (the audience) as well as the other characters in the series, and this results in them finding him rude or disliking his character in general (see: the "Kageyama is abusive" discourse that somehow keeps popping up even now).

Chapter 387 takes place in 2018 and was published in 2020 so it takes him 6 years of in-universe time and 8 years of irl time to really open up.

And the catalyst for all of this is Hinata fulfilling his promise of beating him.

You see, another thing to note is that, whenever Hinata thinks of Kageyama, he's always looking at him from behind.

His internal image of him is someone who's always up ahead, someone he needs to catch up to, meaning Hinata can only see one side of him, he cannot see all of Kageyama until he catches up and passes him.

Which he finally does here.

In this shot Hinata is finally the one who's looking back at Kageyama. At this moment, Hinata (and by extension the audience) can see him for all he is, can see how he was just a lonely boy who's been waiting for someone to meet him where he is, to keep running alongside him and not quit the race.

Someone he doesn't have to go easy on. Someone who would actually tell him to hurry up instead of slow down for a change.

His someone better.

[closetsof-backlogged-dreams]

as sad and disappointing as this is, look me in the eyes and tell me that this isnt the absolute funniest shit youve ever seen. like, they changed their bio to ONE vaguely implicative sentence and posted some promo statement about where you can find it on streaming services, and this little shitty cockroach fandom (affectionate) absolutely BLOWS THE FUCK UP. like, within the span of 2-3 days, we completely took over tumblr so that this 15-year-old fandom was trending, their twitter account gained roughly 6k followers, and everyone is theorizing about a season six a reboot a spin-off a red white and royal blue crossover every thing under the SUN and it literally gets so bad that the poor intern (thats probably gotten two hours of sleep this week and is running solely on celsius and coffee) and the two-person marketing team that managed this whole thing had to scramble to clarify that WE'RE NOT ACTUALLY DOING ANYTHING WE'RE JUST ADVERTISING THE SHOW AGAIN

like. thats the funniest shit EVER.

[mitskiluvr]

of course when you ask akechi to play darts he shows up alone and no one else comes and he picks the hardest difficulty of darts and he also hits perfect bullseyes each turn. is any of this surprising anymore. why am i shocked.

[redonionlover]

sunstone..? perhaps???

anon ur so real for this... they're my faves since i first played rw

havent drawn them in a loong time though so i doodled these real quick :^)

[dansemacabre]

i’ve been thinking about “sixer, it would eat you alive” since i read it and. man. every layer you peel back makes it worse. im not a bill apologist but. shit

if you (1) take it at face value, it paints bill as an apologetic murderer in his single (and maybe sole) open moment of regret. he doesn’t let his walls down often- only with ford do we even get to see the remnant of his galaxy, see the “actual remorse” ford describes, get just a hint of his origins. but he does it, because he thinks ford should know.

if you (2) take it from ford’s point of view, as something he committed to journal three, like. wow. imagine being so committed to a being that you’d hunt down and kill the monster that destroyed his home, only to (assumably) figure out later that that being was the monster. the small moments of trust, the “good times”, are so key to manipulation. how long did ford hold onto that one shred of vulnerability? no wonder ford stayed for as long as he did. in his eyes, bill was a survivor. ford wanted to survive too.

(slight tw below for unreality- any time i mention our reality, i mean “our reality” as a narrative device used in the book of bill as a proxy for the idea of bill being in our reality, since he can’t actually be in our reality. all of this is a fictional theory about a show/book with fictional contents!)

but if you (3) remember that “even his lies are lies” and absolutely Nothing bill says should be trusted. Whoo boy. if i read tbob right the book itself is being created in the theraprism (even tho it shows up with the ciphertologists at some point? idk that’s a whole other post). it’s meant to show what the reader wants to see; it manifests in our reality as what the collective fandom wants to see. so if we want to see truth, if we want to see where bill ended up and who he actually is, there’s a non-zero chance that the whole interaction was a complete fabrication.

imagine bill, stuck in the actively harmful, probably earth-illegal theraprism, once again being forced to be “fixed” and molded into something more palatable, being forced to conform no matter how much it hurts. (i know natural uncontrollable mutation ≠ just so much murder and destruction and chaos, but. you can’t ignore the similarities. bill has obviously been thinking about those silly straws.)

he looks back on everything that went wrong, back on his relationship with ford, back through every dimension where he wins. would that one moment, that one truth amid centuries of lies, have saved him from purgatory? if he had just been open? shown his damage? maybe he did think of his parents, or his henchmaniacs (especially the oracle). people who he might have once opened up to. maybe he just wanted to open up to someone again.

so in his own weird way, stuck in a cell, he reshaped reality again. in this reality, for this fleeting moment, he had been someone worth believing. and ford had listened, hell, ford had wanted to help. looking back, knowing how he treated ford, knowing how ford ended up because of it, maybe bill would have said the most honest thing he’d ever told ford: i am the monster, i am not worth your time or belief, and i will eat you alive.

[shorthaltsjester]

ashton truly is like. student very enthused to get involved in the class discussion. unfortunately they did the reading while high and only have a few sparse notes to help them through and they read “gods & death . something happening there. the everlight exists. melora rips wizard throat with teeth. the gods know EVERYTHING. the gods know NOTHING. gods will kill mortals for knowing things about them. apples?” and there are no page numbers written to help them with context. this does not stop them — to the great horror of everyone else in the lecture hall — from speaking the most during group discussion

[anyahita]

If your feminism doesn't include Iranian and Afghan women, then you're not a feminist.

If your feminism doesn't include women suffering in highly patriarchial societies, then you're not a feminist.

If your feminism doesn't include honour killing victims, then you're not a feminist.

If your feminism doesn't include women suffering at the hands of a zealot religious ideology, then you're not a feminist.

If you support women who want to wear the hijab, but don't support women who don't want to wear it, then you're a morally corrupted person.

[egophiliac]

Okay so I've been wanting to tell you that you're literally my favourite twst artist 😭🩷

So my question is, how do you manage to come up with these funny comics? CUZ I LOVE THEM SO MUCH

(P.s: Lovin' the art style ✨)

oh geeze, thanks! 💚💚💚 I'm really glad people enjoy my stupid sense of humor; mostly I just draw things to make myself laugh, and if it makes other people laugh too, then bonus points! usually it's just one joke or mental image that gets stuck in my head (every time I saw Fellow spin his cane, all I could think about was him go-go-gadgeting away on it...) and in my quest to justify it, it picks up other jokes and bits along the way and usually doesn't even end up as the main focus anymore. entire narrative arcs have spun out just so I could use a single bad pun in a throwaway line. this is a terrible way to explain it but I'm not sure how else to put it into words!

and sometimes it's just "weird things my sister has said that I make fun of her for"

[opera-ghost]

it's immensely funny to me how andrew lloyd webber read this passage from the book and was like yeah the journey down to the phantom's lair is this really breathtaking magical gondola ride where christine is just captivated by the strange and fantastical beauty of it all (see below)

when in the novel they're both like in a rowboat in the dark with christine scared out of her mind and confused as hell while erik is paddling like he's out for an extreme day of fishing and just staring christine down for the entire duration of the journey without blinking once . like mind you his eyes quite literally GLOW in the DARK and he's just fucking staring into her soul and silently rowing and probably not even breathing like

[nightmare-eater]

[nyaagolor]

One of the things about Natsuhi that really gets me is that she’s trying so hard to be a tradwife to cope with her situation but like. She’s bad at it. She’s really really bad at being a tradwife. She’s short tempered, belligerent, easily baited by basically anyone trying to get a rise out of her, and constantly makes her husband look worse in her attempts to defend him. She never sits quietly at his side, she never listens when he’s trying to get her to stop and let him do the talking, and she’s constantly taking charge of situations in his stead. Honestly, she just doesn’t have the temperament to be a tradwife, even if she thinks that’s what she is and what she wants.

And what’s the craziest about this is that Sayo figured this out before Natsuhi herself did. Natsuhi is someone who tries to cling onto power in any and every situation she can, in part because she ultimately doesn’t have any agency at all. She tries to find an angle through which to look at her life where she’s the one calling the shots, where she’s the one in charge, because in her super traditionalist framework that’s what autonomy is— it’s always just been punching down. In her mind, punishment and power might as well be synonymous; you’re either being told what to do or telling others what to do.

Natushi could never be the proper, submissive wife that she’s trying to be because she’s just not that good at lying to herself. She’s constantly trying to power grab in petty situations, to overcome the lack of autonomy she’s so frustrated about by throwing her weight around whenever she can. And I think that’s exactly why Sayo gave her the unloaded gun. Natushi immediately becomes bolder— she lashes out, she takes command of situations, she’s confident— because to her the gun is just the physical manifestation of having the agency to be those things at all. She can take charge of situations because in her mind she’s gotten the power to do so now— agency over herself is always coupled with power over others to her. But the gun was always empty and the promise was always false.

It doesn’t matter how Natsuhi feels or what power she wields over the people beneath her, because she never really had any autonomy so long as she was Ushiromiya Natsuhi. She was and is only ever allowed to do what they permitted. When she fights with Eva in the family conferences, it’s because Krauss is wiling to sit back and let her be the scapegoat. She can bully the servants because the people in the house who are actually supposed to be in charge of them don’t care. Natsuhi fights like a dog for any semblance of power or choice in the narrative, not realizing it’s still within the confines of what the people who have stolen her agency are allowing her have. She’s given a metaphorical gun to wave around, but even though it smokes and fires and makes noise, there was never any real threat to the people who gave it to her, because she was given the gun unloaded. Perhaps more importantly though, she doesn’t know the difference

[autizmotbh]

"Tiny statuette, metallic but porcelain I watch your journey As I intertwine with this world wholeheartedly"

long time no posting but... hiii! :3