#don't read this lol

[gasolineweirdo]

complaining again

this post is crazy because it's completely just incorrect. research on hrt IS limited & poor; you'd know that if you bothered to actually read any of the literature. hrt DOES increase your risk of certain diseases; estrogen increases your risk for breast cancer & blood clots & testosterone probably does the same for other stuff. different hormonal profiles DO impact your emotions. I've literally filled out this form when I switched from pediatric care in WI to my current provider in AK, none of it is worded even remotely in a way that implies the hostility presented here or that you're a "freak," it's a bog standard medical consent form. yeah it does say that some stuff is irreversible because if it didn't it would be fucking LYING!!!!! America's informed consent system is literally the best hrt prescription procedure on the PLANET & complaining about it like this is completely asinine. you are disregarding factual information because it doesn't align perfectly with your preconceived worldview instead of slightly adjusting that worldview & you are tilting at every windmill in sight in order to complain about oppression that isn't even there

[otakween]

Digimon Adventure 02 (manhua) - Vol. 1

Eurgh...I think this one is even worse than the first series. However, it is mercifully short (2 volumes), so at least it will be over quick. I think copies of this manhua in English are kind of a rare commodity so I'm just reading scans.

Ch. 1

-Back at it with the rushed adaptations as illustrated by Yuen Wong Yu. So far, the art in this is looking pretty good, but the writing is a mess, just like the previous series.

-This was a super condensed intro to 02. Veemon, Hawkmon, and Armadimon are all introduced simultaneously and the 01 kids don't even attempt to hide the Digiworld from the 02 kids. It bugged me that when Daisuke got his digivice he was like "so this means...!" How does he know what anything means?? He just got sucked into a computer with zero context.

-Charmingly lame translation. Daisuke says stuff like "mad skillz" and "dag yo." Honestly, he would. Sooo funny how they kinda-sorta incorporated the Japanese names. "I'm Daisuke, but my friends call me Davis." That's like saying "I'm Maxine, but my friends call me Meredith!" Just...a completely different name lol. (Then again, I guess East Asian people do choose "American" names, so maybe it's not so crazy).

Ch. 2

-I really wonder about the production of this manhua. 01 was 5 volumes, but for 02 we only get 2. The writer/artist must have known from the start that they would only get 2 volumes because of how blisteringly fast the pace is. Was this based on bad sales for the first manhua? Or maybe the fact that the second season of the anime wasn't as popular?

-This chapter starts with Koushiro saying "I found out why digivolution isn't working," but we never had a scene showing digivolution not working lol. We also see all of the armor digivolutions in this chapter...without any chapters of those getting introduced. So yeah, this is another adaptation that assumes you've seen the show so they skip all the exposition that would be helpful to a newcomer.

-Daisuke said "wiggedy wack"

Ch. 3

-Lol at Koushiro calling the 02 gang "kids" when he's like 2 years older than them. Middle schoolers do be like that tho...

-They just threw all the new digimon armor evolutions together in a way that I thought didn't really make sense. They find the digimentals and can't lift them up, but then later in the same chapter the digimentals just fly over to the kids and work? Why couldn't they pick them up the first time? Were the vibes off or something?

-I was sad to see they cut out the part where they make fun of Ken for calling himself the Digimon Emperor/Kaiser. I did enjoy Iori's "how does he do that with his hair?" bit tho lol

Ch. 4

-Wow, this one was laughably bad. Somehow we're already on Ken's redemption arc. The instant after Wormmon's sacrifice Taichi appears literally out of nowhere (he wasn't in the previous scenes at ALL) to be like "guys it's okay, Ken's brother died." WTF? How did he know that and where did he come from?? Clunkiest exposition ever. They could have at least thrown in a separate "Ken backstory" chapter to make this go down a lot smoother.

-Daisuke literally says "Dag. This thing got the bling bling" when he finds the miracle digimental loool. Why.

Ch. 5

-In horrible 90s/2000s slang news, in this chapter Daisuke calls Veemon "boo," randomly shouts "Extreme!" and says "that's straight." (I don't even remember that last one being a thing).

-I liked how they drew Stingmon. His face is a little more Wormmon-like than it was in the anime. I always prefer it when digivolutions bare a resemblance to their earlier forms instead of being totally random.

Ch. 6

-In this chapter, Daisuke calls Ken "homeslice." He's the only one they made talk "street" (or whatever you want to call it). The other characters are just like "Wtf?" lol. Of course, I'm sure none of this was in the original Chinese.

-Not gonna lie, going through this again is just reminding me how dull 02's story is :/ I think they kept presenting questions "who is this mysterious lady??" but then the answers we eventually got were underwhelming, so you were left feeling like "what was the point...?"

Ch. 7

-They mention the dark ocean, but it's completely without context because they didn't bother to adapt that episode lol. So much of this manga is out of context in general and would be a nightmare to read without prior knowledge.

-Weirdo dialogue when Hikari saves Miyako from falling off a cliff and says "I believe in you!" and Miyako's reaction is "wow! That was really nice, thank you!" As if Hikari was mean to her before...? Just awkward.

Onto the next! I bet it will be just as underwhelming (especially since the 2nd half of 02 isn't that great in the first place).

[unsung-idiot]

don't show him modern technology; it won't end well

bonus under the cut:

[palarien]

sketched this out at jury duty actually

[coddda]

I wish we could have met in some other way.

Lawlight Week Day 2: Soulmates

If you saw me repost and re-edit this several times uh No you didn't </3

Still frames/Individual gifs:

If you know what every frame is from you get a free cookie. by the way

[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.

[vaguely-concerned]

the strength it must have taken for illario to not immediately go full 'lmao since when have you even had a kiss hello lucanis' sibling violence mode during the café talk. inspirational. rook and lucanis really were doing all that right in front of his salad huh

[chalkrub]

KOFI

commissions: here!

membership: here!

more in-depth explanation above lol but yes, opening up my kofi for the above stuff! i'll still be posting art to my socials as usual, but there'll be more consistent/exclusive/early-access art and wip posts for members on kofi, along with all the benefits above

thank you very much for any support as always! muah

[peace-hunter]

Idk if you've read deceptibee before but if you have,how would the primes react while Op and Megs are fighting over custody of bee and Dent his shoulder,I can imagine alpha trion giving Op a long aft speech of why he's a terrible friend

actually, i think OP is quite good at telling himself what a terrible friend he is. a bit too good if you ask any of his siblings.

it is another of the very few things the primes refuse to accept optimus' opinion on

haunted au

[thunderc1an]

a kittypet ventures into the old wild cat territory

[alienatedartt]

movie poster for the wonderful Existential Crisis mode by one @luciaintheskyainthi !!

I have been loving this fic so far!! It's been one of my favorites and honestly has been part of the reason I got in to DC !

[violent138]

Tim, looking around the darkened corridor: "You think it's a good idea to be breaking into random places right now?"

Jason said nothing, fumbling in his pockets.

Dick: "You live here, don't you?" Which gets everyone's attention laser-focused.

Jason just cast him a look, getting the door open.

Steph entered first, smacking into something that falls over. "Jeez." She complained, stumbling backward until Cass steadied her by the shoulders. "Sorry, that's my bad."

Duke turned on the lights in one motion, making everyone blink and wince.

"Get off me." Damian snapped, and Dick carefully let him go, letting him limp angrily into a chair. He frowned, scrutinizing the place. "You live here? Why would anyone--"

"Guys." Dick rubbed his eyes over the mask, cutting off Damian and Jason’s sharp answer. "First aid kit?" Dick asked Jason tiredly.

Jason nodded, moving to get it and heard Damian ask "What?" in response to a patented glare he must be getting.

Tim had made a beeline for the kitchen. "Dude, why do you have a singular set of dishes? And why are there just guns in this cabinet?"

Jason scoffed, handing Dick the kit. "Didn't realize I was running a fucking bed and breakfast."

"There's guns in this cabinet too!" Tim shook his head, opening and closing two more. "Oh good, just large knives in this one."

At Tim's raised eyebrows, Jason went into the kitchen and shooed Cass down the counter she was perched on, grabbing the paper plates he kept in a drawer and shoving them into Tim's chest.

Glancing at the way Steph was rubbing her neck, slouched at the table, Jason grabbed two ice packs, sliding one her way and throwing the other to Damian.

Duke, taking a book off Jason's meticulously organized shelf: "Why do you have seven copies of Pride and Prejudice? Did you keep forgetting you bought it, or--?"

Jason, storming over to put the book back. "Stop."

Dick looked up from the wound he was stitching. "Are they different at at all?"

"Are they in different languages?" Steph asked.

"Did you barter them for food? Because your fridge is fucking empty." Tim reported.

Jason groaned, realizing that they weren't going to drop it. "One has a different introduction and one is the zombies version. And yes, the rest are the same, now could you all stop touching stuff?"

"Why do you have five copies of the same book?"

[northstarscowboyhat]

Peepaw Starlo struggles. Autism 2 autism communication struggles.

[cenvast]

"Toshiro Is Sexist," "Toshiro Owns Slaves": What's Really Going on With This Guy?

I've seen a lot of debate on whether or not Toshiro is problematic because he's a slave owner or because he's sexist in the context of his crush on Falin. While I do want to examine his relationship to Falin, I'd like to take a few steps back and unpack his upbringing first. We'll dive into the gender and class dynamics he was raised with and how it impacts his behavior in the main storyline.

Like all people, Toshiro is shaped by the environment he grew up in. Toshitsugu, Toshiro's father and the head of the Nakamoto clan, is the most impactful model of authority and manhood in his life. Toshiro does recognize some of his father's flaws and tries to avoid replicating them. But whether or not he emulates or subverts his father's behavior, Toshitsugu is often the starting point for Toshiro's treatment of others, particularly marginalized people.

The Nakamoto clan exists under a patriarchal hierarchy with Toshitsugu at the top. As noted by @fumifooms in their Nakamoto household post, his wife has more authority than Maizuru. She's able to ban Maizuru from parts of their residence, but despite disliking his infidelity, she can't divorce him or stop him from cheating on her. Their marriage is not an equal partnership.

On an interpersonal level, Toshitsugu and Maizuru also have a fraught relationship. While she does seem to care for him, she's often frustrated by his thoughtless behavior.

For example, he drunkenly buys Izutsumi for her — without considering how she'll have to raise this child — and invades her room in the middle of the night. When he cryptically says, "It's all my fault," she replies, "I can think of a lot of things that are your fault." She calls him an "idiot" and "believes that [Toshiro] will grow up to be a better clan leader than his father," implying that she takes issue with Toshitsugu's leadership.

Because Maizuru and Toshitsugu are described as being "in an intimate relationship" and "seem[ing] to be lovers," Maizuru appears to be a consensual participant. Still, this doesn't negate the large power imbalance between them as a male noble clan leader and his female retainer. This imbalance introduces an insidious undertone to Maizuru's frustration with Toshitsugu. Like Toshiro's mother, Maizuru doesn't have the agency to do as she pleases in their relationship; he has the ultimate authority. For instance, she doesn't seem to want to raise Izutsumi, but she has to anyway.

While Maizuru's role as Toshitsugu's mistress is significant, she's also the Nakamoto clan's teacher and Toshiro's primary maternal figure. She cares deeply for Toshiro: tailing him, feeding him, and taking responsibility even for his actions as an adult. While it might seem sweet that she cares for him like a son at first, Maizuru was notably fifteen years old at the time of his birth. In the extra comic below, he's six years old and has already been in her care for some time. Even if we're being generous and assuming that she didn't start raising him until he was six, she was still only twenty-one at the time she was parenting her boss/lover's child with another woman.

Maizuru's roles as mistress and maternal figure, in addition to her role as retainer, demonstrate the intersection between gendered and class oppression in the Nakamoto household. Despite her original role being a retainer trained in espionage, Toshitsugu presses her into performing gendered labor for him and eventually, Toshiro. She's expected to be Toshitsugu's lover, perform emotional labor for him as his confidant, care for his child, and carry out domestic tasks like cooking. She says, "Even during missions, I was often dragged into the kitchen." If she was a male servant, I doubt she would have been expected to perform these additional tasks. She can't avoid these tasks either, stating that her "own feelings don't factor into it."

Toshitsugu disregards his wife's and Maizuru's desires and emotions to serve his own interests. Because he has societal power over them as a nobleman and in Maizuru's case, her master, neither woman can escape their position in the household hierarchy.

As a result, Toshiro grew up within a structure where men and male nobility, in particular, wield the most societal power. The hierarchical nature of his household and society discourages everyone, including him as a clan leader's eldest son, from questioning and disrupting the existing hierarchy.

The other Nakamoto household members also internalize its sexist, classist power dynamics.

For example, Hien expects that she and Toshiro will replicate the uneven dynamics of the previous generation, regardless of her personal feelings. She sees her and Toshiro's relationship as paralleling Maizuru and Toshitsugu's relationship; she is the closest woman to Toshiro and his retainer, so she's shocked when Toshiro doesn't attempt to begin an intimate relationship with her. Notably, she doesn't have actual feelings for him. Her expectations are centered around the household's precedent of placing emotional, sexual, domestic, and child-rearing labor onto the female servants without any regard for their personal desires.

Hien also probably knows that her position in the household will improve if she is Toshiro's lover because she's seen it improve Maizuru's position. However, the fact that being the future clan leader's lover is the closest proximity she, as a female servant, has to power further reveals the gendered, class-based oppression she and the other women live under.

It's important to note that the Nakamoto clan bought Benichidori, Izutsumi, and Inutade as slaves, so they have less power and agency than Maizuru and Hien. The clan further dehumanizes Izutsumi and Inutade as demi-humans; their enslavement contains an additional layer of racialization.

Toshiro isn't oblivious to the gendered, class, and racial power dynamics of his household. He tries to distance himself from participating in its exploitative power structure. He walls himself off from Hien, who he's known since childhood, to avoid replicating his father's behavior and making his servant into his lover. He disapproves of his father's enslavement of Izutsumi and Inutade, and he lets Izutsumi go when she runs away in the Dungeon.

But does any of this absolve him of his complicity in his household's sexist, classist power dynamics and racialized slavery?

The short answer is absolutely not.

Despite his distaste for his father's exploitation of his servants and slaves, Toshiro still uses them. He refers to his party as "his retainers," and he has them fight and perform domestic tasks for him. You could argue that Toshiro doesn't like to and thus, doesn't regularly use his servants and slaves. In the context of him asking his retainers to help him rescue Falin, Maizuru says, "The only time he ever made any sort of personal request was for this task." But it shouldn't matter whether exploitation is a regular occurrence or not for it to be considered harmful. Toshiro asking Maizuru to cook him a meal still constitutes asking his female servant to perform gendered labor for him. He's also very accustomed to her grooming and dressing him.

Maizuru sees feeding, washing, and even advising Toshiro romantically as fulfilling Toshitsugu's orders to care for his son. They aren't fulfilling a "personal request." But just because her labor has been deemed expected and thereby devalued doesn't mean that it isn't labor or that she isn't performing it.

Maizuru's dynamic with Toshiro is also complicated by her role as his maternal figure. She loves him and wants to take care of him, and she doesn't have a choice in the matter. During Toshiro's childhood, the onus was on Toshitsugu to cease exploiting his lover and release her from servitude, but Toshiro is now an adult man. Seeing as how Maizuru defers to his wishes and calls him "Young Master," they still have a power imbalance that he's passively maintaining. Ideally, he would not ask anything of her until he has the authority to release her from servitude.

Throughout the story, Toshiro acts as if he has no agency and quietly disapproving of his father's actions absolves him of his participation in maintaining oppressive dynamics. While his father still ranks higher than him, he's essentially his father's heir. He has much more power than Maizuru, the highest-ranked servant. At the very least, he could leave his slave-owning household.

Unfortunately, his refusal to confront injustice is consistent with his character's major flaw: he does not express his opinions, desires, or needs. While this character trait obviously hurts his friendships, it also furthers his complicity in the injustices his household runs on.

Toshiro's relationship with eating food — the prevailing metaphor of the series — also parallels his relationship with confronting injustice. Maizuru mentions that he was a sickly child, so the act of eating may have been physically uncomfortable for him. As an adult, his refusal to eat crops up during his rescue attempt of Falin. Denying himself food might have been punishment for not accomplishing important tasks like rescuing Falin and/or a way to maintain control over something in his life when he felt like he'd lost control over the rest of it, again in the context of losing Falin. (Note: I suggest reading this post on Toshiro's disordered eating by @malaierba.)

But he cannot and does not avoid consuming food forever.

Similarly, Toshiro keeps his distance from his retainers and tries not to use them until the Falin situation occurs. His efforts to avoid exploiting his retainers amount to inaction — things he doesn't ask of them or do to them. But his inaction does nothing to dismantle the existing hierarchy that places his retainers under his authority, denies them agency, and often marginalizes them as not only servants or slaves but as women, and he ends up using them as servants and slaves anyways.

Returning to the narrative's themes of consumption, Toshiro cannot avoid eating just as he cannot avoid perpetuating the exploitative system of his household. The Nakamoto clan consumes the labor and personhood of those lower in the hierarchy. The retainers' labor as spies and domestic servants is the foundation of the clan's existence. Thus, the clan consumes their labor to sustain itself.

Within this hierarchy, the retainers' personhood is also consumed and erased. As Izutsumi describes, they are given different names and stripped of their agency to reject orders or leave. Maizuru and Hien also say their feelings are irrelevant in the context of Toshitsugu's and Toshiro's wants and needs. Both women are expected to comply with whatever is most beneficial and comfortable for the noblemen. Clearly, despite Toshiro's detachment from his household's functions, these social structures remain in place and harm the women under him.

Although we know the Nakamoto clan has male retainers, the choice to highlight the female retainers seems intentional. We're asked to interrogate how not only being a servant or a slave in a noble household impacts a person's life and agency, but how being a woman intersects with being a member of some of the lowest social classes.

Toshiro only distances himself from his father's behaviors of infidelity and exploitation so long as it doesn't take Toshiro out of his comfort zone. He doesn't free his slaves. He's far too comfortable with his female retainers performing domestic labor for him, and he barely acknowledges their efforts; they're shocked when he thanks them for helping him save Falin. He hasn't unpacked his sexist (or classist or racist) biases because he perpetuates his household's oppressive hierarchy throughout the narrative. Considering all of this, he inevitably brings this baggage to his interactions with Falin.

Falin is presumably one of the first women he's had extended contact with that isn't his relative or his family's servant. Because of his trauma surrounding his father and Maizuru sleeping together, he understandably falls for a woman as disconnected as possible from his father and his clan. He seems to genuinely like Falin, respects her boundaries, and graciously accepts her rejection. His behavior towards her is overall kind and unproblematic.

But if Falin had gone with him, she would've likely been devalued and sidelined like the other women of the Nakamoto household. No matter how much he loves Falin, simply loving her cannot replace the difficult work of unlearning his sexism. Love, of course, can and should be accompanied by that work, but by the close of the narrative, we gain little indication that Toshiro acknowledges or seeks to end his part in exploiting and devaluing women and other marginalized people.

A spark of hope does exist. Toshiro expressing his feelings to Laios and Falin suggests that his time away from home has encouraged him to speak up more. Breaking his habit of avoidance may be the first step towards acknowledging his complicity in systems of injustice and moving towards dismantling them.

Special thanks to my very smart friend @atialeague for bringing up Toshitsugu's relationship with Maizuru and the replication of dynamics of consumption and class! <3

[elsecrytt]

okay but jjk somnophilia is like

gojo "please please pleaaaaase let me put it in while you're sleeping PLEASE i swear i'll make you cum i proooomise please let's try it once pleeaaase. YOU can put it in ME whenever you want!!! any time any place anything you want in any of my holes!! wake me up with it!! it'll be soooo hot" satoru

vs

nanami "i have kink charts for both of us and they have sliding scales and notes section for each one. we can mark hard boundaries for what state of consciousness we want for ourselves or our partners, giving or receiving, what sex acts, etc. we'll set up a safe word and a safe gesture and then we can start trying things out" kento

vs

geto "sorry i fell asleep while eating you out, it will happen again. no, i won't stop eating you out when i fall unconscious. just tear me off your pussy if you don't like it" suguru

[miscellaneousrenaissant]

Thinking about how Chilchuck and Laios started adventuring at around the same relative time in their lives

There are a bunch of similarities to their backstories - leaving home at a young age (14, 12), starting careers in exploring dungeons as young adults (19, 22), developing a complex about the first monster that killed them (Mimics, Living Armor), getting scammed or taken advantage of by other adventurers (succubus-hunting party, gold-peelers) - that they give me "past and future" vibes

Chilchuck is the older mentor to the less-experienced Laios. He joined Laios' party when Laios had only been exploring the dungeon for a year, and Chilchuck regularly gives advice based on his own 10 years of experience in an effort to support Laios as leader. There are several occasions of Chilchuck either teaching or wishing Laios would learn something in particular that he thinks would help with the job

Laios is a reflection of Chilchuck's past from when he was just starting out as a naive adventurer, while Chilchuck is an example of the future that Laios is striving towards as a seasoned dungeon explorer and leader

But also, they can represent missed opportunities and paths not taken for each other

An example for Chilchuck is that he isn't treated with the same respect as a tall-man because he is a half-foot. He can lead a union of half-foots, but leading a party of other races, many of whom would infantilize him, is unlikely. There are limitations to what he can do (physically and socially) compared to Laios simply because of how each were born, and it's partly why he's so hard on Laios to make him a good leader and not waste the opportunities afforded to him

Meanwhile as an example for Laios, who left his family and fiancée behind when going out on his own at 12 years old, who wasn't shocked that Chilchuck became a father at 13, and who even mentioned that some tall-men get married at 13, too...

If Laios had never left home, would he, at 13, have married someone from his childhood and also become a father of three?