#and I mean EVERY aspect of it

[gamenu]

Looks like I'll have to spoiler tag a 2005 DS game!

[sergle]

When ppl will create a "curvy" girl character and get pretty much the whole body's proportions right, obviously they're putting emphasis on bust/hips but it seems like it's being executed well--- except that they completely, fully, and deliberately, skip the stomach entirely. Just nothin there. Not even a whisper. I'm like. Just sack up, make it make sense and be honest with yourself by making it official and say it's canon that they got a tummy tuck. You cowardly ass, yellow bellied, wet brained, upside-down dog mouthed dirty bitch.

[musubiki]

i think the most powerful final form for mochi timeskip outfit will embrace her witch nature 🖤

[chocmoon-latte]

"Hancock has no regrets about becoming a ghoul"??

It baffles me when some people think Hancock has zero regrets about becoming a ghoul. Absolutely none at all apparently. Like yeah, he plays it up when you first meet him before he's a companion, but let's be real he plays up pretty much everything in regards to the whole "sexy king of the zombies" image he projects.

It takes travelling with you away from Goodneighbor to give him some time to be introspective for him to finally realize that him becoming a ghoul was just another escape route from himself again. He's got several lines of dialogue that literally reiterate this. It's a key point of his character:

Hell, running from myself is what made me into… into a damn Ghoul.

Well, I mean, I didn't always look this good. The drug that did this to me, that made me a Ghoul, I knew what it was going to do.

I just couldn't stand looking at the bastard I saw in the mirror anymore.

The coward who'd let all those Ghouls from Diamond City die. Who was too scared to protect his fellow drifters from Vic and his boys.

If I took it, I'd never have to look at him again. I could put that all behind me. I'd be free. Didn't seem like a choice at all. Turns out it was just me running from somethin' else in my life.

I mean, after reaching max affinity with you, he realizes that maybe it wasn't such a bad thing after all (because he's finally got an honest friend he can be open with now). He now feels comfortable where he is - but to imply that he doesn't have at least the tiniest amount of regret? Heck, if you go onto romance him (or attempt to), he stops referring to himself as handsome and literally starts calling himself ugly, which naturally goes entirely against the image he projects:

Why don't we just agree to keep it friendly for now or till they find a cure for ugly? Heh.

You don't want to wake up to this mug every morning. Never wish that on anyone I cared for.

You sure you want to be stuck with this ugly mug?

(You could even say he implies it beforehand with another line of dialogue elsewhere in-game when he says "I'd be mad too if I was that ugly." But that's a stretch I guess.)

Combine that with the fact that 99% of ghouls don’t choose to become ghouls. Hancock did. But he didn't do it for a fun experience. He was already in a bad place when he became a ghoul. He didn't turn to be cool and edgy like he pretended he did when first getting to know him.

He lost his appearance, any connections to his old identity and old friends/people he might’ve been associated with (for better or worse), and in return gained hostility from bigots towards him for merely existing, from an overwhelming majority of the Commonwealth population that hates ghouls. There's the Institute and Brotherhood who want to kill anyone like him on top of that. Plenty of people out there who think he and other ghouls are monsters for just being alive.

Not only that, but something which adds onto this is the fact that he's a client of the Memory Den, and they're very selective with their customers. And what's the whole point of the Memory Den? Reliving past memories. Irma's terminal entry about Hancock, as well as the other two ghoul clients Kent and Daisy, all imply the memories they go back to relive are primarily from their human days. (The one on Hancock straight up says "if you thought he was handsome and dangerous now, you should've seen him before he turned ghoul.")

I genuinely refuse to believe that Hancock has never had any regret whatsoever about becoming a ghoul. The man who's spent a decent chunk of his life running from his own problems instead of confronting them, has NO regrets about taking a drug that alters his entire being and functionality on a biological level and will force him to outlive everyone he knows? This man is FULL of regrets!

[mewtwo24]

I can't stop thinking about the revelation of Luo Binghe's heavenly demonic heritage and how striking the differences are in SVSSS vs PIDW. 

In terms of the original, how Shen Jiu's violence was unexpected but numbing after a point. How Luo Bingge's awakening would be a means to freedom; that while he might be reviled by human immortals, at least he no longer had any reason to give a damn what they thought. Demonic cultivation would exact the wrongs that had been acted on him tenfold in cold blood, to repay youthful admiration and blind trust with all the cruelty unleashed on him indiscriminately. How easy it was for Luo Bingge to choose power and performance because he had little if nothing else of substance to turn to. 

For Luo Bingge, otherness is an easy second skin because he's never once belonged in the first place. Sneering is natural when the entire world has done nothing but badmouth, ridicule, hit, and condemn you for things that were never within your control. “What does it matter that you're a monster now?” Luo Bingge seems to think, “You were and will be a monster always.” Every facade, every ill-intended act of deception and violence is merely injustice reaping its due.

Luo Binghe (Bingmei) has no such liberties.  

For Luo Binghe, the trappings of comfort and belonging end up yielding an entirely new problem, a reversal of Luo Bingge’s non-conundrum. His fear is that Shen Qingqiu’s love might be conditional rather than a despair that it is non-existent, because in many respects it is for the surrounding immortals; they go from calling Binghe a promising and shining youth to a demonic scourge born to invite ruin in the span of a handful of years. Shen Qingqiu, caught between what he wants to do versus what he believes he must do and his own fears, sours Luo Binghe’s trust to quivering doubt. What Bingge desperately craved was precisely what put Binghe through such unrelenting turmoil. Where difference and change is freedom for Luo Bingge, it is a chilling and unwelcome prospect for Luo Binghe. 

For Luo Binghe, the thought that he could be something monstrous to the person he loves is a form of self-annihilation; so much of his desperation to appear non-threatening to Shen Qingqiu is rooted in this self-same anxiety. In the wake of Meng Mo’s intervention, Luo Binghe cannot even bring himself to ask “What does it matter that you’re a monster now?” He can only cling to the desperate belief that if he can just conceal what he is for long enough, the future he always dreamed of might still be within his reach: an eternal life of peace by Shen Qingqiu’s side. 

For Luo Binghe, the rejection of his humanity means rejecting the people who nurtured him wholeheartedly (the washerwoman, transmigrated Shen Qingqiu) with love and kindness. Even despite the confusion behind Shen Qingqiu’s change, even despite how enigmatic and reticent he can often still be, Binghe recognizes powerful instances of tenderness and care in his actions. Someone who stubbornly healed his wounds, who was unable to watch him be brutally bullied without due recourse, someone who trusted in him and his potential with his whole heart. 

For Luo Binghe, power and demonic strength mean absolutely nothing because he has love. He doesn’t want them, and even when he does have them they are used in service of protecting Shen Qingqiu. Xin Mo isn’t able to take over because Luo Binghe isn’t strong enough to resist its temptations to subjugate the world, it happens because he exhausts so much energy trying to preserve Shen Qingqiu’s life that his resistance fractures. And even when Xin Mo succeeds in warping Binghe’s mind, the end result is still in service to a desire to be close to Shen Qingqiu’s heart. In the end, he continues to seek love.

Where the inexorable tides of change become opportunity (arguably even a boon) for Luo Bingge, for Luo Binghe this change is the focal point of his calamitous loss. How Luo Bingge's ascension is a ruthless and seamless transformation--all of his experiences hardening him into something harsh and brutal and unyielding to survive. How Luo Binghe's is instead a fall from grace; the corruption of innocence and stolen youth--of dreams razed to ash and safety obliterated.

And after all, doesn't it hurt so much more to have known peace and thrash that it will forever be out of your grasp? ...Than to live in such tumultuous waters that gentleness is an alien, loathsome, and unfathomable thing. For the former, a feeling of safety may never be restored--always looking back before looking forward. For the latter, there is nothing but the grim and solitary march on, eyes shuttered to all else.

I feel like that's why I love the ending of the third novel, as disturbing as it may appear to a lot of readers. Shen Qinqiu expresses his disbelief and hurt that Luo Binghe would lie to him and choose so much destruction, but for Luo Binghe it all has a singular source. Without love, he has nothing. He cannot choose a life devoid of the person he loves.  

(I once read a fic where Luo Binghe says ‘I never wanted to be a demon’ to Shen Qingqiu and I think it metaphysically changed me as a person. Every single day I think about it and try not to bawl my eyes out. Anyways.)

[carlyraejepsans]

Do you enjoy underfell? I thought you disliked aus /genq

i don't dislike the concept of AUs itself, I'm just not a fan of like... the subculture that spawned around them in the UT fandom specifically and how it eventually took over almost all canon content (especially when it limits itself to the bros)

i like aus visually! i am an artist at heart after all. it's just that, if I'm going to care about them as stories and not just fun design ideas, my bar is uhh almost impossibly high the further you move from canon lolol.

[claudianolastname]

Do You Know What it Means to Be Loved by Death ? • Claudia

[front-facing-pokemon]

[emblazons]

Thinking about how people who only (or primarily) understand Mike’s arc through a “hes queer and coming to accept it / struggling with heteronormativity/will get his happy ending when he gets with Will” lens are missing at least half of what defines his arc in the wider context / themes of the show.

Forewarning: long post (& also maybe an unpopular opinion)

Even as a queer person myself, I know that his arc isn’t solely about embracing his queerness (though it’s inherently interlinked). In Mike, you have a character who is being radically challenged by both external circumstances and his own decisions through a journey away from all kinds of forced conformity (social, familial, romantic & heteronormative) and into someone self actualized enough to live how they want…while also being strong enough to accept that they made mistakes along the way. Someone who is learning to be brave enough to say “this is who I am, what I enjoy, and what/who I love…and while it took me a lot of time to figure it out, now I can exist in the world embracing that even though it will take consistently resisting the tendency to accommodate people who think it’s unacceptable.”

Like. Even from a time before puberty (see: S3) Mike wants a life that stands apart from what’s expected of him in every area, not just in choosing a romantic relationship with another guy. He wants to continue to be a nerd and “child at heart” even though something else is repeatedly demanded of him by everyone from his parents to El in his romantic relationship. He wants to be a writer and someone who takes those nerdy interests into his adult life (cue aggressive gesturing toward the duffers themselves) and grates against all that’s been constructed for him even when he’s not (yet) brave enough to challenge it directly. Mike liking boys/loving Will is just “the final nail in the coffin” of his social and societal nonconformity—not the first (or the last) aspect of what makes him different from Hawkins or the life he was made to believe would suit him best.

Even the fact that Mike has a desire to be “normal” comes from an insecurity and fear that choosing what he truly wants will lead to him being outcasted and losing the people he cares for entirely—which is partially motivated by his queerness yes, but that also has a basis in his general interests and personality…which becomes especially obvious when you realize we are repeatedly shown that he is punished/has his wishes ignored in all areas he doesn’t conform, even long before we get into a plot where it’s clearer he likes boys.

We see it in how his parents have already started to demand he put boundaries on the time he spends playing his “childhood games” the very first scene of season one, how they demand social acceptable emotions from him when Will is missing, and how Karen & Ted want him to give up toys in S2 when he’s showing signs of depression (because they think the issue is him growing up, not that he’s struggling with loss or guilt for what happened to El).

We see it in how his own father comments about taking his CA trip away from him after calling Hellfire being a group for “dropouts” in S4 (implying that he is failing on an academic and social level that matters to wheelers—and that Nancy is good at).

We even see it in the way everyone from his bullies to his own girlfriend threaten and take things away from him when he doesn’t conform to social expectations...from Troy telling him to jump off the cliff to save Dustin in S1 (as punishment for the one time Mike stands up for himself in the gymnasium) to El jumping straight into breaking up with him and spying on him when he doesn’t do exactly what she wants him to in Season 3.

All of these moments are critical to understanding Mike as a person because they show us that, even without addressing his queerness, Mike’s desire to conform to socialized expectations involves but is not solely about him moving out of heteronormativity—it’s about him moving against everything that WASP, patriarchal, heteronormative and capitalistic and performative “wholesome American” values…and how he is learning to move past the fear of what will happen if he steps outside the lines in general, even though he already knows he hates those standards.

Mike’s “coming of age” arc is about finding the strength to choose the “path less traveled” in all areas of his life—even when it means (potentially) losing the support of the people he cares about. It’s about starting from a place of privilege and becoming okay with being outcasted from it in a way your insecurities never let you be before (which is inherently different than Will, who has always been shown to have some kind of support not just for his queerness but his artistic endeavors as well). Mike’s lack of support is why he starts from a place of deep insecurity, yes—but it’s also why him learning power of choosing to be himself, even if it means “losing” people when he’s honest about who (& what) he is will be universally powerful.

You don’t need to be queer to understand the power of what it means to know you will be okay even if people leave you. You don’t need to be queer to understand the power of stepping outside social expectations or your family’s way of raising you. You don��t even need to be queer to understand the weight of breaking up with someone you were only with to satisfy what you thought you should do, rather than be with who you want to.

The power of being strong enough to overcome your insecurities in order to “step out of line” and live and love as you want to is universal, and a stunningly brave choice no matter what or why you chose to do so. The fact that Will will be there waiting to love him in that honesty with himself is beautiful, yes—but it’s not the only lesson to be learned for Mike’s character.

Mike starting out with everything the world (or, at least America) tells would make you happy, realizing he is not happy with those things and rejecting them knowing it might have consequences is what makes his arc powerful, because he is learning (exactly like his sister Nancy) to be brave enough to accept those consequences (which for him are getting dumped, and feeling like he’s being left behind by some of his friends) to follow his own heart.

Even though The Duffers aren’t writing this into a tragic ending (aka: he’s not going to die or be left alone, because the duffers writing is inherently designed ro champion the outcast), these are the things that have (and will) make him relatable even to an audience that doesn’t know queerness. Erasing the fact that his lesson is the bravery it takes to follow your heart solely to talk about him liking guys (even Will) is to undermine his humanity, and the lessons to be learned from him by even the most general an audience.

TL:DR - the heteronormative aspect of Mike’s character is not the sole or even inherent issue within Mike, though heteronormativity is inherently built into his struggle.

There are deep dives on how his arc is also about a war against toxic patriarchy, toxic masculinity, emphasis on capitalistic and academic accomplishments over artistic ones, and even conformist relationships (whether they’re queer or not) that should be explored for his character—and I for one like him too much not to move out of just “this boy is queer because xyz” and into “let’s talk about Mike in terms of the wider scope of his cultural context and upbringing.” 🤷🏽‍♀️😂

[devilcatdarling]

Please consider

Vessels can't speak but they can make a limited amount of noises

Purrs, trills, huffs, sighs, clicks, rumbles, etc

Hollow letting out little huffs and whines unintentionally when they're overly stressed or hurting

Little rumbles and near-silent purrs or an audible sigh when touched lovingly or held comfortingly

Clicks and trills when they're finally comfortable enough to express curiosity or to get someone's attention or to greet them

Actual growls if someone threatens their loved ones and makes their incredibly long fuse of a patience snap

[handweavers]

Have you seen the hugh grant adaptation of maurice and if so what are your thoughts on it?

i have and i really enjoy it! i think the cinematography is beautiful and i appreciate most of the little changes they made to the story, particularly that of making it more clear that clive's "crisis" was due to internalized (and externalized) homophobia and not that he just woke up one day and decided he's straight now like the book implies lol. i think the movie is excellent at capturing the almost dreamlike, nostalgic quality of the book. it is generally very faithful to the book, down to repeating many lines word for word, which i really appreciate

i have mixed feelings on the casting of james wilby because in the book maurice is hyper masculine, tall dark and handsome, explicitly stated to be em forster's "middle class dream man" in that he is the english middle class ideal of a very masculine straight man, the last man anyone would ever suspect of being gay, and that clive was the one who was a bit more effeminate and boyish. i think a part of that was also a class thing (the whole book is class analysis), in the sense that maurice being middle class and occupying a more precarious position than clive meant he couldn't afford to be as 'soft' as clive was and put a lot more effort into performing heterosexuality publically while being far more comfortable with his homosexuality in private than clive ever was. but also due to class clive was more unwilling to risk his social status by fully embracing life as a gay man whereas maurice actually developed class consciousness over the course of the book and abandons his class position altogether lol. james wilby brings a different vibe to the character, and i feel that dichotomy between maurice and clive is switched around a bit and the social context of their characters as they were written for their time period (the early 1910s) is somewhat discarded, which makes me a little sad. but wilby does so well in the role, as does grant and rupert graves as alec i'm not as grumbly about it as i might be.

[uncanny-tranny]

If you truly want to do what's best for mentally ill people, you have to learn that you often won't be able to separate the "salvageable" parts of ourselves with our illnesses, and you can't pretend like we are sane people underneath the façade of insanity, like we can flip a switch and magically erase the differences that make us "disordered"

[thompsborn]

14 years old, only like a month into being spider-man, peter takes down a mugger and the guy is cursing peter out and peter just calmly says "i'm fourteen" and watches this dude have a crisis

"no you're not"

"i literally am. did you not hear my voice cracking every two seconds? pretty sure i only started going through puberty last week"

"you're lying"

"believe what you want"

"why would you tell me that if it's true"

"because no one will believe you and i think that's funny. also i want you to know that you just lost to a freshman in high school. even if you don't believe me, you can't prove that i'm lying. this is never going to leave your brain. i won the physical fight and now i'm playing with psychological warfare. and i called the cops. anyways, bye!"

mugger gets arrested and is like "no seriously i swear to god he was in these like red and blue pajamas and had a mask and goggles and he said he was fourteen and psychological warfare and-"

[captainspaulding-moved]

of course you like jelix……. L

anyway

[dyingbuck]

alex g - things to do

[sunshinetrinket]

kind of funny when i see people calling a man in a crop top androgynous. thats not what that word means like even a little bit