#did this made any sense

[deceasedpoet]

Meeks was the very first anderperry shipper (if you have saw that scene when knox called chris on the phone) he already knew it! He would’ve published something inspired by those two but as you know, Neil ended it all which could also be one of the many reason/s of Meeks’ grieving for his friend.

[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.

[sarcastic-clapping]

LET YOUR DAD DIE: IT'S FINE IT'S FINE IT'S WHAT HE DID TO HIS DAD.

Lestat + Claudia: Patricide & The Cycles of Violence - INTERVIEW WITH THE VAMPIRE (2022) - Catherine Lacy, "Cut" (2019) / Anne Rice, "The Vampire Lestat" (1985) / Anne Rice, "Interview with the Vampire" (1976)

[bacchuschucklefuck]

while teen while goblin while aroace while injured while doing your best

[thedreadvampy]

Losing my shit about this article in which a transphobic Tory was so busy panicking about existing in the vicinity of a Trans that she almost certainly misheard "jeans" as "penis" and decided that not only was this a problem with the other woman, but also that the world must be informed of this pressing danger.

"a trans woman! I had to stand directly behind her....I thought, 'this is going well', I'm handling The Situation fine'..."

translated: I saw a tall woman with broad shoulders. How would I get out of this alive? I thought. she has a PENIS. PENIS PENIS PENIS. through some force of PENIS I mean will I managed to PENIS behave normally towards her. My hands were PENIS PENIS PENIS shaking as I tried to dry them. summoning up all my PENIS courage I said 'dryer's crap innit'. she turned to me and said " yeah I'm just goiPENIS PENIS PENIS"

It's been a week and I'm still shaking. This proves trans women are the problem and I'm not weird. I'm fine. It's fine. If you think about it I'm the hero hePENIS!!!!!

very this

[scribbling-dragon]

missing ranchers forever and ever and ever (a redraw of THIS from a year ago)

[click for better quality! + closeups under the cut]

[balleater]

despite being more often than not a "rules as written" fan over "rule of cool", i really do love me a good "rules be damned, i'll give you this awesome moment" call. like matt giving fcg the otohan kill despite what her hp was at or brennan giving cerrit an extra mage slayer reaction attack at the end of calamity. honestly, if anything, i think the fact they mostly play by the book makes these moments even better because it really has that extra weight towards those decisions to put the rules aside.

[cosmicalls]

i'm no film or visual arts expert but ☝️ one little detail i like in dead poets society is how often there are shots of todd looking up at neil. often in admiration, i'd assume--

--which is of course mirrored in the shot of neil looking up at todd after he does his poem;

also,

looking up towards the sky after The Incident. what does this say? i don't know actually. but it feels like something. don't know what

not to mention when neil is finally on stage. everyone in the audience is looking up at him in that case, but i'd say it still makes sense?

they hjust admire each other so much i think. Ouuhg

[sobselpop]

Puppeteered by somebody else

Lowkey maybe totally inspired by this masterpiece by the amazing @joycew-art

[luck-of-the-drawings]

so REVENGE, HUH? or justice, if that makes you feel better. it tastes the same when cooked just right. 'I REALLY WANTED A BROTHER.' such a shame to burn a bridge you so desperately wanted to keep, especially when it wasnt even you who started the fire. especially when you hope that not a single fragment of that bridge ever washes ashore.[MAY IT ROT FAR FROM MY SIGHTS] an unfortunate loss! atleast he has his friends.

[yuripira4e]

thinking about this one Superbat fic I read where they had to fake date or whatever but in it while they’re still in pre- relationship, they like fall asleep in the same bed, play games with their kids, and like shower while the other one is also in the bathroom and it’s like “oh yeah they’ve dealt with shit from crying into the others shoulder to literally trying to fuck each other during sex pollen episodes; there’s no world where they’re not the epitome of comfortable with each other even if they don’t think the other one returns their romantic feelings” and I just have to say I agree and I think about that hc at least once a week

[babyangelsky]

Faith as a love language and why I want Ju Yeong to give Do Hoe his cross necklace

Let me preface this by saying that one, my interpretations are drawn heavily from my own personal experience as well as the culture I was raised in and two, that this is going to be very rambly and maybe not make a whole lot of sense to anyone but me. But @respectthepetty encouraged me to get this out of my brain so here we are.

In order to explain what I mean in the title of this post and actually get into the meat of it, there's two other things I need explain first. There are layers to this so please bear with me.

The first thing is that I am not and have never really been a practicing Catholic. I believe in god and have a very loose, very personal system of spiritual belief but I am not religious. My grandmother is Catholic however, a very devout one, and since she helped to raise me I would say I was partially raised Catholic. Emphasis on the partially because my beautiful mother in her infinite wisdom (and due entirely to her own religious trauma) felt it was important to give me a choice on the matter and figure out my faith for myself, which I love her dearly for.

(She also once infamously refused to kiss the ring of the local very important priest in the village she grew up in which is one of my favorite things about her)

However, I've learned that even if you are given a choice on whether or not religion will play any part in your life, that does not save you from developing religious trauma. Especially if you also happen to be queer and especially if you don't adhere dogmatically to the widely accepted--and arbitrary--set of rules that determine whether you are considered a "good (insert faith here)".

The second thing has to do with cross necklaces and why being given one is a very specific loving gesture.

I lived in Mexico for a while a couple of years ago. On the day that I was due to come back to the States, my grandma gave me a cross necklace. She didn't just give me a cross necklace, she gave me her necklace that had been custom made for her. She wanted me to have a safe flight and get home in one piece so she gave it to me.

I have worn that necklace every single day for the past two years. If I happen to wear another necklace for outfit reasons, I put my cross in my pocket. It's always around my neck or on my body. Always. And the thing is, I don't wear it to signify my belief god.

In the broader sense of faith and what it means to people, giving someone a necklace like that holds a lot of weight. Taking something off of your body, your 'self', that you trust to keep you safe and that represents your faith and your beliefs and then putting it on someone you love to keep them safe is such a visceral expression of love. It becomes a symbol of faith in a different way.

As I've established, I'm not devout like my grandma is. The necklace doesn't represent to me what it does to her. I wear it because doing so makes me feel loved and safe because she gave it to me, not because I have faith of my own.

Now, having said allllll of that.

Ju Yeong's cross necklace has been established to primarily represent not his faith, but his family's expectations. Expectations that he hasn't lived up to and that have turned that cross into a heavy symbol of his failure that keeps him shackled at all times except when he chooses to take it off. And when he chooses to take it off matters.

He took it off when he confessed to Do Hoe and again when he slept with him because in those moments he wants to be free of that burden, free of those expectations, free to just love Do Hoe without having to think about anything else. Not even god.

Because even if the necklace isn't primarily a symbol of Ju Yeong's faith, it still is a symbol of his faith or rather, the faith that he had no choice but to adhere to when he became a pastor's son. That's what makes Do Hoe misunderstand what it means for Ju Yeong to take it off when he's with him. He interprets it as Ju Yeong being ashamed, as wanting to hide his sin, as only allowing himself to love Do Hoe when god isn't watching. He's wrong, of course, but he doesn't know that. Yet. (Petty explained it better go read that post)

We haven't really gotten into Ju Yeong's relationship with his faith and with only two episodes left I don't think we will, and that's a shame because I think recontextualizing what the necklace means to him and what his faith means to him would help him heal.

(Which is something I believe anyone who has religious trauma should do at some point in their life, especially if they're queer. Religion is so often weaponized against people and something that's used to make them feel inadequate and ashamed and like they aren't allowed to draw comfort from it unless they fall in line with what it asks of them. We always think of it being used that way specifically against queer people but that isn't always the case. I'm not out to my family and I once had a relative look me in the eyes and tell me I was going to hell for not going to mass.)

Really it would help both of them heal because even though Do Hoe wasn't the one with the religious upbringing, the necklace is still making him feel the same sort of inadequacy and shame he thinks Ju Yeong feels.

Which is why I want Ju Yeong to give Do Hoe his cross necklace.

Recontextualizing what it means, allowing it to be a symbol of his faith and nothing more, and making the conscious decision to take it off of his body and put it on Do Hoe so Do Hoe knows that he's loved without shame would mean everything to me personally.

Faith is a love language. It's why Mexican mothers pin medals with the Virgin of Guadalupe on them to their newborns' onesies, why parents choose auspicious names for their babies, why the very first prayer Christian and Catholic children are taught is the guardian angel prayer, why grandmothers do the sign of the cross over their children and grandchildren and end every conversation with "que dios te acompañe", and why we put crosses on the people we love.

[keepyourpantsongohan]

Obito still wanting to be the Hokage in his dreams during the war arc is funny for many reasons, but mainly to me because he DID get to be a Kage for years, but in Kiri, and to our knowledge, this is how it went:

Possess Yagura, the Mizukage ✓

Become widely known as the tyrant of Blood Mist Village ✓

Instill a policy of making people kill their comrades if they think they might be captured ✓

Cause most of your most powerful ninja (the Seven Swordsman and the village's jinchuriki, Utakata) to abandon the village, losing both their expertise and your village's weapons ✓

Have Zabuza try to coup d'etat and assassinate you ✓

Get attacked by the direct descendants of the god you will one day resurrect ✓

Have all your village's kekkei genkai users under constant threat of being murdered by their fellow villagers, causing them to go into hiding or be wiped out, and lead your nation to economic and social ruin ✓

Like babygirl HAD an oppportunity lead a village, made it worse and still went "no, I'm qualified for this job" and that's a level of confidence we should all perhaps aspire to

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[anghraine]

jenndoesnotcare replied to this post:

Every time LDS kids come to my neighborhood I am so so nice to them. I hope they remember the blue haired lady who was kind, when people try to convince them the outside world is bad and scary. (Also they are always so young! I want to feed them cookies and give them Diana Wynne Jones books or something)

Thank you! Honestly, this sort of kindness can go a really long way, even if it doesn't seem like it at the time.

LDS children and missionaries (and the majority of the latter are barely of age) are often the people who interact the most with non-Mormons on a daily basis, and thus are kind of the "face" of the Church to non-Mormons a lot of the time. As a result, they're frequently the ones who actually experience the brunt of antagonism towards the Church, which only reinforces the distrust they've already been taught to feel towards the rest of the world.

It's not that the Church doesn't deserve this antagonism, but a lot of people seem to take this enormous pride in showing up Mormon teenagers who have spent most of their lives under intense social pressure, instruction, expectation, and close observation from both their peers and from older authorities in the Church (it largely operates on seniority, so young unmarried people in particular tend to have very little power within its hierarchies). Being "owned" for clout by non-Mormons doesn't prove anything to most of them except that their leaders and parents are right and they can't trust people outside the Church.

The fact that the Church usually does provide a tightly-knit community, a distinct and familiar culture, and a well-developed infrastructure for supporting its members' needs as long as they do [xyz] means that there can be very concrete benefits to staying in the Church, staying closeted, whatever. So if, additionally, a Mormon kid has every reason to think that nobody outside the Church is going to extend compassion or kindness towards them, that the rest of the world really is as hostile and dangerous as they've been told, the stakes for leaving are all the higher, despite the costs of staying.

So people from "outside" who disrupt this narrative of a hostile, threatening world that cannot conceivably understand their experiences or perspectives can be really important. It's important for them to know that there are communities and reliable support systems outside the Church, that leaving the Church does not have to mean being a pariah in every context, that there are concrete resources outside the Church, that compassion and decency in ordinary day-to-day life is not the province of any particular religion or sect and can be found anywhere. This kind of information can be really important evidence for people to have when they are deciding how much they're willing to risk losing.

So yeah, all of this is to say that you're doing a good thing that may well provide a lifeline for very vulnerable people, even if you don't personally see results at the time.

[storywestistrash]

watched mouthwashing finally. the fact that i saw people be more aggressive towards curly than jimmy is kinda strange. kinda real weird