#and i missed trad colouring

[naeminaeri]

kim midriff.... yes yes so good... but perhaps... kim back....

[temis-de-leon]

Solomon x gn!reader in trad goth attire

Characters: Solomon, reader

Masterlist

Anon request: Hey again! ☆ can i request Solomon reacting to !gn reader dressing in traditional goth wardrobe for the first time?

Prompt can be changed to you liking and whether it's in the form of a fic, headcanons or shitpost is up to you ♡☆

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A/N: I based MC's clothes and makeup on 80's trad goth fashion. MC is a lil' black sheep and Solomon (and me) are simping for them. This is set at the start of season 2 in the OG game. Hope you enjoy it!

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Solomon didn’t really think about the way you looked. He’d seen Asmo make infinite assumptions about your appearance and he had to admit he put some input from time to time, but he didn’t really mind. He was content talking to and seeing your adorable miniature bovine body, black wool and all.

And it was that, the wool, what they should’ve taken into consideration when wondering about the real version of you.

There he stood, mere feet away from you, gawking as you talked on the phone; one of the brothers, perhaps? Your figure seemed impossibly tall, clashing against the crowd on your black attire: long leather coat almost touching the floor, a concoction of lace and velvet on your upper body and fishnets making your legs even lengthier.

He couldn’t stop staring; not even when the people around him looked at him in reprimand, surely taking him as a creep.

Then you blocked the phone and his plans of reinserting himself into your life as his usual mysterious self were forgotten. Rushing towards you, still transfixed by what he was seeing, Solomon called your name.

“Over here, MC!”

“Solomon?!”

He relished in your dumbfounded expression, giving himself the freedom to study you from up-close. Your face was as white as a sheet of paper and your eyes were framed by a complicated design of thick black lines. The hair on your head vaguely reminded him of the wool you had as a sheep, wild with no sense of direction, and he couldn’t help but smile at the comparison.

“You’re staring an awful lot and saying little to nothing”

Solomon chuckled, not embarrassed at all, and you smiled. The colour of your lips matched the makeup surrounding your gaze.

“I’m merely admiring you, MC. I never expected you to have this fashion style”

“And? Does my fashion style live to your expectations?”

He checked your lips again and didn’t bother to hide his interest when you bit your bottom one. Its contrast against the white of your teeth and the rest of your face didn’t let him stop staring.

Obsessing.

“I’d say it does more than that”

There was silence for a few seconds, other humans around you going through their lives without knowing what was happening between you two. Did you even know?

You finally laughed and lightly punched his arm, breaking the trance and leaving a certain tension behind. Solomon smiled in return and chose to leave the topic, at least for the time being.

“What are you doing here? It’s been so long!”

He sighed in a dramatic flair.

“Well, you know me… I’ve been occupied”

“And you show up now because…?”

You raised your eyebrows, making him laugh. He couldn’t distract you even if he tried, probably because he himself was distracted.

Your lips were so black.

“I was thinking…”

“You think too much”

“I was thinking. How do you feel about a brief visit to the Devildom?”

He enjoyed your immediate interest, back straightening as you got close to him in delight.

“What do you mean?”

“Surely you miss the brothers, right? And of course they miss you too, so, wouldn’t a quick trip be worth our while?

The mistrust in your eyes was quickly overpowered by your eagerness, the crosses in your earrings and your necklaces calling for his attention when they clanged like a wind chime.

“Perhaps you want to take those off”

“Oh, yeah”

Fingernails were black too, but your jewellery was entirely made of silver and stones, big and small, carefully placed in all your digits, your wrists and everything that allowed to wear something.

It became hypnotizing and he couldn’t avoid blushing in embarrassment when you finally snapped your fingers in his face while laughing in amusement.

Solomon couldn’t help but redirect his vision to your lips one last time.

How would he look with black lipstick?

Care to stick with him a little longer, MC?

.

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[st1cks]

I have been missing the ocean queen so I just had to draw her

This drawing was actually drawn traditionally before taking it and colouring it digitally!! Below the cut is the trad drawing in colour.

If you like my art, likes and reblogs are appreciated :D

She’s a bit bright neon but I like that about her. I am genuinely curious about which version you guys prefer, so feel free to share in the comments or tags if you reblog!

BTW I WAS LISTENING TO DEAL WITH DESTINY ON REPEAT WHILE MAKING THIS, THAT SONG SLAPS!

[atinyladybug-art]

Day 3 and 4 of Cringetober! Missed a day so you get them both together.

Day 3: Unnecessarily Complex Outfit

Atticus, once again, wearing god knows what. I drew this in trad and then coloured it digitally cause i dont have enough spoons today.

Day 4: Angel X Demon

Art of me and my partner @bl00dbite!!! I haven't drawn us in a while. 🥺

Cringetober list by @/icryink under the cut!

[disappointingyet]

The Gutter

Directors Isaiah Lester, Yassir Lester Stars Shameik Moore, D’Arcy Carden, Jackée Henry, Susan Sarandon, Paul Reiser USA 2024 Language English 1hr 32mins Colour

Agreeably retro bowling comedy

The Gutter is a 1990s-style sports comedy with updated jokes. And only one major part going to a white dude. Simple as that, really.

In the Adam Sandler role as the man-child who is unaware of his sporting talent, we have Shameik Moore, whose voice you might know from the Spider-Verse movies and whose face maybe from Wu-Tang: An American Saga.* As the big-time player/villain who looms over the proceedings but doesn’t appear until fairly late in the film, we have Susan Sarandon. And as the drunken mentor, we have D’Arcy Carden from The Good Place.

The set-up and the beats of the story are fully trad: a beloved neighbourhood spot – in this case a rundown bowling alley – is under threat, a big sum needs to be raised in a hurry to save it. And ex-bowling pro/full-time day drinker Skunk (Carden) accidentally discovers that bartender Walt (Moore) is a natural on the lanes. So the pair head off on the pro tour to make the cash to save his place of work/her hangout.

The jokes are hit and miss but the ones that do land are properly funny. Walt and Skunk dress according to the location of each tournament and the film has a good time with that. On the other hand, we get too much of Paul Reiser as an over-opinionated bowling broadcaster – that’s a gag that has been run dry generally. 

On the whole though, The Gutter makes its familiar elements feel alive. It’s the right amount of silly and has enough character of its own not to feel like merely a rehash. Lots of fun.

*He plays Raekwon – not the only instance in that show where the actor is substantially prettier than the bloke he’s playing. I saw The Gutter at the 2024 London Film Festival

[janedyson4thyear]

painting

with hilma in mind ive been really chanelling my geometric vibes

Af Klint and The Five mediumistically created work with which they hoped to transmit a supernatural knowledge of evolution via subversive coded signs, including gendered images of spirals of the natural order

if the snail’s shell spirals clockwise, for af Klint, it is associated with the power of emotion, and, in a traditional manner, she connects this power to the feminine principle.

this is only taken as a trad take if you are still trying to firmly connect feminine traits to the female.

Ive decided to push out of my canvas confides and paint around much more deliberately.

this is a callback to frequent comments I get in every crit about the marks around my work (I'm very messy) my hand prints (I'm a finger painter) and streaks all around the studio are hard to miss. its about time I use this intentionally.

using the wall around the canvas brings up questions of permanence, where the art ends, layers, and texture.

I want people to look at this work and maybe not even realise that there's canvas in the first place. I want people to want to keep looking. so much colour and texture.

[ranarh]

When zebras sleep

From my personal art challenge, this prompt was my favourite. It read "Eye of the beholder - Cuando las cebras duermen, todos los caballos son de colores". Beholders have been done to death ;) and the other expression was just so great: When zebras sleep, all horses have colours. Horses can be hilarious, so I drew a bunch of them and gave them garish colours, using lassoed shapes as masks for the lively execution in Rebelle, using the watercolour features with great gusto.

I absent-mindedly complained to my significant other that I missed doing challenges because I hadn't gotten around to any in '23. He was happy to provide me with a multi-lingual list of prompts the likes of which I hadn't seen before and gave me a schedule until the end of year I couldn't possibly keep - who has time for art during the winter holidays when there are games that need playing and way too much food to think creatively? These are my results. I decided before that I wanted to start working with a more reduced and clearer style than my usual paintings; I would love to get into editorial illustrations. I worked in Photoshop, Painter, and Rebelle; leaving out trad tools to speed things up.

[worrywrite]

I don't really care how this comes off, but as someone who really enjoys Discworld and is just... So incredibly tired of modern trad fiction. Don't skip Equal Rites. It's a good book. It doesn't hit home at the end as hard as some others, but it's still a fantastic book.

And on the other hand, there are some that I do think you probably shouldn't start on that others have said are great. Mort, for one, while being a decent book, isn't particularly interesting and doesn't serve as a great introduction for Death as a character even though this is his starter novel. Small Gods, on the other hand, is a brilliant novel and one of the ones I think everyone should read--but definitely not the first one people should read. But I still think people should get around to reading all of the series if you can (even though I haven't myself, because there's just so freaking many of them).

If you want to start, it really depends on what your existing preferences are. It you like fantasy in general, I recommend Guards! Guards! If you like d&d I would actually recommend Colour of Magic or Equal Rites (though my preference is EQ). If you're more of a drama and romance, I recommend Going Postal. Monstrous Regiment is also very popular, but might not resonate with a lot of readers that don't want to think about gender in a fluid sense (even though there is more to the book than gender/sexuality discourse).

Reading series in order is, in my opinion, a pretty good idea if you can. But reading them in any order is just as fine. I am of the opinion that if you can't bear to read a book because you know what is going to happen then you just don't like reading and you're forcing yourself to do it anyways. If something doesn't make sense, I fully support you going to the Discworld wiki and seeing what happens in any given book you missed and then going back and reading it when you can. They're all worth reading, even the "bad" ones. You can't really spoil Discworld because the charm of pretty much every book is that the plot doesn't exactly matter so much as what happens around it. But there are some that you are better off having a better taste of the world before you get to. You will want to know more about Vimes before you get to Night Watch, you will definitely have wanted to get a lot more books in general under your belt before any of the Death books, and the industrial revolution books have a much different feeling to them because they are when the setting changes a lot so it feels like things are ending and it's a little hard to bear if you enjoyed a lot of the older ones.

Tl;Dr just read them however you can. The books aren't particularly well circulated and can be expensive to buy if you can only get them from Amazon or something. Check your library system and look for starter novels. G!G! And EQ are my recommendations.

where can i start reading disc world?

(tl;dr version: Either with Guards!Guards! if you want angry urban fantasy or Wyrd Sisters if you want angry rural fantasy, then follow the list for that sub-series)

Oh anon brace yourself, there are in fact several ways people have big opinions on.

These are mine:

1. My least favorite way is from the start in chronological order

the trouble here is the first few Discworld novels were written as these kinda silly goofy fantasy/dnd parodies that weren't even supposed to be a part of a bigger thing and they honestly aren't that good, especially not compared to later books. That's the way I started and I just dropped the series for a few years cause of it, so I really don't recommend it. The author himself said he wasn't that good of a writer back then which is understandable, cause it was like 40 books ago.

2. What I reccomend is in chronological order based on different sub-series

Discworld novels all happen in the same world, but they follow different groups of characters, so you have several sub-series.

I'll post a list here, but it's pretty confusing so I'll also explain two of my favs below.

City Novels (Watch novels and Industrial Revolution novels)

About a huge, terrible metropolis and the people that help it run, stumble and sometimes trip over the years.

People normally split this into watch novels which follow the city watch and are crime procedurals/adventure books with a ton of social commentary and industrial revolution novels which are about the city speedrunning from medieval to industrial era via several inventions and follow different main characters who are mostly all there against their will.

To me, the main character is the city itself and I super recommend reading these from start to finish in order to see how it changes with time.

starting book: Guards! Guards!

Witches Novels

About three witches doing witch things in a small mountain kingdom, unless they're going on a trip somewhere.

Incredible horrid old lady characters, a lot of exploration of fantasy tropes, some deep emotional beats, very warm human phlosophy and personal responsibility themes.

There's a semi-seperate "YA" series about a younger witch (Tiffany Aching novels), but don't let that fool you, because those hit just as hard as the "adult" ones.

starting book: Wyrd Sisters (technically Equal Rites, but that's also in the awkward early books period for me)

As for the others, the death novels are also very very good, Small Gods is an amazing standalone book and I'd literally just avoid the Rincewind novels until you're already hooked on the series, but they probably have their fans too.

3. Just pick up a random book you see in the library

A tried and tested method a lot of people swear by, most of the books are standalone enough for this to work, BUT my personal opinion is at least the city books should be read in order (especially Night Watch) and there's several less than stellar books you could pick up first by mistake this way (Color of Magic, Light Fantastic, Interesting Times and Faust being the worst imo).

[azolitmin]

stand alone post for this painting

[cishetlessfashion]

... if you don’t mind could you do a dark academia meets soft (?) punk look with like muted colour and maybe 80’s trad goth vibes? my friends best birthday is coming up and I want to get them some nice close but I’m having trouble finding them, eh are genderfaun, nb/m, and use eh/em/eir, they/them/their, and he/him/his pronouns, and eir autistic.... I’m sorry but I’d really appreciate the help if this made any sense

Sure thing! Probably missed their birthday by now but you can get em stuff for another special day :)

[tellthemeerkatsitsfine]

Good God, I fucking miss live music. In fall 2019 I got to go to Celtic Colours, this Celtic music festival in Cape Breton. Cape Breton is this island on Canada's East Coast where almost all our best folk musicians come from. Kids who go to school on that island learn Gaelic in their language classes and step dancing in their gym classes.

It was one of my favourite experiences I’ve ever had. My family and I rented a house on the island. Most of my family was interested in the scenery, the cultural events, that sort of thing. My dad and I were the only ones who were there because we really, really loved the music. And even my dad did not keep up with me when it came to that, because he was in his 60s and it is reasonable for him to want to do things like sleep at a decent hour.

But I fucking didn’t. Every morning and afternoon I went to a different event with different music somewhere on the island. Then every evening I went to this pub right near our Air B&B where they had different local Celtic bands playing common favourites plus the occasional original song. And at night, I would take the shuttle to the after-hours Festival Club, which was full of a huge range of folk bands and artists playing until 3 AM. Proper traditional and trad-flavoured contemporary, Gaelic and English, acapella and 10-piece bands; people would just get up and play whatever. That whole trip was one of the best weeks of my life.

I turned 29 during that trip. I spent midnight of my 29th birthday at the Celtic Colours Festival Club. I spent midnight of my 30th birthday alone in my mother’s bedroom in my childhood home, where I was staying because my mother had moved halfway across the country to take care of her dad, and I’d agreed to stay in my childhood home for a bit. I’d agreed to that partly so my dad wouldn’t be alone during quarantine (he still had to go into the office at times, but otherwise lived alone and wasn’t allowed to leave the house), partly so the cats wouldn’t be alone while my dad was at the office, and partly because being quarantined with my roommate had very nearly led to me stabbing him with a sharp implement. I've been staying in my mother's bedroom because it's the nicest room in the house (it is separate from my father's bedroom, they have been platonic roommates since I was a teenager, they started fighting much less after they ended the romantic part of their relationship, in unrelated news I still hold the belief that getting into any sort of romantic situation is the best way to ruin a perfectly good relationship, it's fine).

God. Watching the video I linked above makes me so miss the world as it used to exist. I mostly don’t miss large gatherings of crowds, but I do miss that shit.

[captain-kit-adventuress]

I grew up in a house built in 1898. It was nothing special, just a decent home in a small town for a middle-class family. I won’t say where it is, but it’s definitely not on either coast, and it is certainly not a mansion built for one of the titans of industry. It was, for the time, a boring, middle-class home in the American Queen Anne style.

It was built with a slate roof. Now, this was not out of the ordinary at the time: slate was probably fairly inexpensive, as a building material goes, and durable. Also, easily replaceable on a shingle-by-shingle basis and any shingles that couldn’t be re-used in other building projects were recyclable in other ways—I forget exactly what for, but ground-up slate was useable for something, as an example.

The house has also been very lucky in its owners. To date, there have only been three: the original owners who paid to build it, an older couple, and my family. That’s it. And the ones before us were careful about at least preserving original details, and my parents wanted an old house that looked and felt like an old house, so they did what they could to preserve it as well.

It is not in an area with kind weather, either. The temps vary widely, as do humidity levels. The house has seen everything from rain and sleet and snow and lightning and a few near-misses from tornadoes and trees.

The slate roof has lasted since the home was built 125 years ago, and did not have to be replaced until last year. We looked into having it replaced with more slate, and it would have cost more than the house originally did when my parents bought it. Needless to say, it did not get another slate roof.

But it’s lost something for it. Actual strangers used to stop by pretty regularly after we had it sided (intelligently, in a period-appropriate colour) just to tell us how stunning it was, this normal house built for normal people in a normal town. All because we worked hard to preserve what made it special, even though we did modernise it some. No one stops now, and the house itself will have to have its roof replaced far more often because we had to use a less durable, replaceable, eco-friendly material.

And that’s before we even talk about the wood-burning furnace (along with a regular furnace) and the cross-ventilation provided by intelligently placed windows because the original architect didn’t have electricity to work with, much less central air. And the myriad other little details that made it affordable, eco-friendly, and just plain better.

I’m no Trad, either. I couldn’t wait to leave that house or that town. I have never looked back and I don’t regret it. But things really were made better back then, often because there was no alternative, but plenty of times because the alternative was considered too cheap.

And that’s because more people had more control over their living situation. Not all, of course. There have always been poor people, and people who don’t have a lot of choices. But the building materials were often a lot more sturdy and able to absorb weather changes better.

When you’re building for yourself, you build for longevity. When you’re building for others, you build for just long enough to become someone else’s problem.

also someone on that post of McMansion getting renovated into a different McMansion was like "people who love old things don't realize that a lot of it was just cheap mass-produced stuff like the furniture and household goods they hate today!!!!"

and like. okay. there are articles on how cheap mass-produced stuff has gotten worse in just the last ten years. is it really that hard to believe that it was vastly better-made 100+ years ago?

also that should make MORE of an impact, I think, than simply assuming it's all the same as exquisite artist-crafted furniture in mansions. even the equivalent of Wish.com housewares in the 19th century were often 100X more durable than what we have today

(and no, that doesn't mean Western Society BetterTM or anything else the marble statue PFPs spout. forms of mass production happened in many societies, from cheap ceramics made in China and Japan for export to copies of ancient grave goods made in Egypt and the Mediterranean during archaeological revival crazes)

I have been living in Working or Middle-Class People's Apartments c. 1910-1920 for the past ten years. one of them was just rendered uninhabitable by fire, but a surprising number of the walls and doors were still standing. I firmly believe you could run a tank into those radiators and not damage them. things WERE often better-made in Ye Olden Times, and it doesn't make one ignorant or a Trad to say so

[castee-yel]

up was going to sound confrontational no matter how i worded it, so i’m sorry about that. But i simply was just curious, and i don’t have any intention of attacking you regardless of what your artistic approach is. (4)

last time im going over this:

you sent me 4 more of these, still acting as if i havent already answered your point, despite me providing more digital art with timelapses and the processes like i don't understand your issue anymore, okay lets say the first message was just a question, i already answered you anon?

you say you dont have any intention of "attacking" me but you went on for 4 more messages that are still claiming the same thing after i gave you more than enough trad AND digital artwork processes & timelapses and thoroughly went through everything for you.

as someone on the autistic spectrum who deals with clarification issues i can confirm to you i spent more than an hour compiling all that to make sure its all there and accessible, it should be pretty clear, which is whats bothering me. i already answered you fully before in 2 posts.

the only point that was semi new was why/how i manage to not miss subtle green tones in skin, trying my very best not to yell this is because ive been working with a 5 colour palette for years now, constantly use the colour wheel questions and once again am a major perfectionist. does this mean that i dont have paintings where i've been blind to a tone? yes, does this mean i would willingly post every piece ive ever made including the shit ones? no. does this mean i dont edit my digital art time to time when i notice something is off? no, i even stated that in my last post-

even in my trad art i dont miss hues,,,,, i set out a watercolour layer of the greens/yellows/reds before i start painting-

[ranarh]

Multifaceted

For a private art challenge. For the prompt "Facettenreich - Muchas capas en la historia" I was unsure how to start because my need for this type of look was nearly fulfilled after I completed the other prompt "Symmetria", took some time to daydream and come up with a nice enough idea. For illustrations like this, heavy in effects and shapes, I keep most initial elements as channels and re-select them frequently, here, the shape of the figure and the outline. I've been watching lots of stylized animation lately that looks amazing and used some of my inspiration for shape overlays, Divide layer effects, and halftone texture applied to brushes. Many colours came from gradients on overlay layers; I brought back the face and made some more distinct outlines later to address emerging contrast issues. The pose was taken from a fashion photo, the drawing freehanded and turned into a path shape to make all edges supersmooth, then a grayscale figure was created by shading with an airbrush, and that used for Gradient Mapping.

I absent-mindedly complained to my significant other that I missed doing challenges because I hadn't gotten around to any in '23. He was happy to provide me with a multi-lingual list of prompts the likes of which I hadn't seen before and gave me a schedule until the end of year I couldn't possibly keep - who has time for art during the winter holidays when there are games that need playing and way too much food to think creatively? These are my results. I decided before that I wanted to start working with a more reduced and clearer style than my usual paintings; I would love to get into editorial illustrations. I worked in Photoshop, Painter, and Rebelle; leaving out trad tools to speed things up.

[thedreadvampy]

this is not quite as egregious but it's still fucking Wrong (and it matters a lot to me because Delirium is one of my Characters Of All Time)

you can't dress and style delirium as if she's death! that's incredibly consistent to her character design! she changes looks more than any other character in the comics, her face, hair, body and mode of dress are in constant flux, but the commonality is that she Never Ever Ever looks put together and tidy. this is her at an event where all the Endless are in high formal dress

(this is also to my memory the only time in the whole comic she matches her siblings' hard black-and-white palette. most of the time she's in greys, beiges, or pastels. she's the only one who habitually wears multiple colours (other than Destruction, but he's living as a human), which both makes her stand out and ties into her backstory as Delight)

like this is the thing that I knew would happen with Delirium. because Delirium, like Despair, her whole thing is that she isn't styled. she's a street kid she's a gutter punk she's a little girl who can't dress herself or someone who got distracted halfway through putting clothes on. she can't be washed brushed and dressed in fitted tailored clothes because she's Delirium.

she has to look either like she's stumbled in through a multi-week bender or with the same clothes for 48 hours or got lost halfway through dressing herself because of who she is. she has to look slept-in, mismatched, tattered and torn, both bc that's what makes her so visually iconic and because that's what conveys the nature of her character. she's abstract, detached from reality, easily confused and distracted, unaware of expectations, and somewhere between childlike and extremely, distressingly adult. she's marginal.

she and Despair can't dress and move like Death, Dream and Desire because that's so opposite to their natures.

Death is self-actualised and sure, which is why she dresses in ways which are offbeat but coherent and has perfect, crisp goth makeup. Dream and Desire are externalised and performative, so although they're strange they're very tightly tailored and styled and coiffed. But Despair and Delirium are by their nature detached from social expectation - Despair because it strips you of everything but basic animal needs and the desire for self-destruction, and Delirium because it's about being unmoored and marginalised and unable to clearly connect dots or fit in.

it just misses the point of sandman's aesthetic language, among other things. Sandman isn't just trad goth vibes. the trad goth looks are playing a narrative part in a broader spectrum of aesthetic languages where they're being congested against ragged punk and grunge looks as well as normal contemporary fashions. you can't style all of the Endless the same, even for a promo photoshoot. it's incoherent. and a lot of other characters, too, are styled in similar ways. and it's just so fucking flat from a visual storytelling perspective.

it's also straight as hell and this show's character designs need dyking up 60000%

What the fuuuuuuck is this though for real?

like this truly nails down so much that I find so offputting about the aesthetics of Netflix Sandman. it's so...put together. all the rough edges sanded off. hair smooth. faces perfectly made up.

and this is the natural end point. so fucking allergic to any kind of roughness or ugliness or disarray that you look at this character

and think ah yes. this will be best represented by a fully clothed fully made up young woman with neatly styled hair. after all she's fat so that will convey the effect we're looking for of grotesque misery.

the promo image was what first caught my attention because she's literally wearing a full beat, a gown and has perfectly coiffed hair but I thought ok. this is maybe just meant to be an image of the actress. so I want to look for the show image and I think it's actively worse.

this is just a normal woman dressed normally. you know. to convey total life-killing despair.

and as well as the utter blandness of the Netflix Sandman styling and the way it strips out all the flair and grungy goth-punk crunch from an iconic set of character designs, here's a couple of additional questions

What does styling Despair this way say about the visual meaning that you think "plus-sized woman in casual clothes" carries?

What does shying away from depicting Despair as naked, unkempt and ungroomed say about how we are willing to show women on film?

In the absence of greasy, unwashed, unbrushed and scraped back hair, dirty face, sunken eyes, colourlessness etc, and not squatting naked on the floor, what about this person's appearance other than her weight (and, in the show image, the fact that she isn't dressed to the nines and wearing a full beat) is intended to read as abject?

If she was played by a man, would anything in either styling convey despair, abjection or depression?

[antifainternational]

what do you think of the boot lace code including fascists? supposedly if you wear white laces it indicates affiliation with the kkk and red laces indicate being a neo-nazi. i don't think it's fair that fash get a share of punk symbolism. do you think it'd be worth trying to reclaim those colors of laces to use for non-fascist symbols?

A couple of times a year, this story about coded boot lace colors comes up.  Here’s the deal (for those of you who missed the 1980s/1990s): back in the day skinheads used to identify their political affiliations (if any) by the color of their bootlaces or suspenders (aka braces).  The trouble was that this was pre-internet and pretty difficult to coordinate what color meant what political allegiance among skinheads in one city, let alone in every city around the world.  Since skinheads tended to be a bit transient, what would happen is a skinhead wearing, say, white laces & braces would leave a town where it mean they were a racist bonehead (and tbh not a skinhead at all!) and visit another town where it meant they were a trad or what-have-you.  This happened for pretty much every color you can think of.  Most famously, redskins (who are inherently anti-fascist) would signify by wearing red laces & braces, then run into people from places where those colours meant you were a nazi bonehead. This whole system fell out of favor by the late 1990s and skinheads mostly wear what they like now and everyone has a much more difficult time discerning actual skinheads from their racist bonehead imposters.For a historical/academic take on this whole phenomenon, have a look at this paper.