#feather op

[extrashortshorts]

Colorful chickens again

[dykealloy]

small aside but y'know how luffy's stupidity is usually met with physical abuse of some kind? anyway. here's law's worst in response to luffy being manipulated by his arch nemesis

[where-does-the-heart-lie]

New chapter and doodles!!!

@ohboyhowdybuckaroo and my god au!

[twiggyart6]

sorry for all the text in my horrible handwriting but I have a lot of thoughts about transponder snails.

[buffy-of-ren]

Little oc comic; Mihawk and Shanks and their daughters.

[maomango-doodle]

Playing around with the color wheel WEEE

[yourangle-yuordevil]

(︡° ⍙°︠)

[taitavva]

niijima akechi sibs and futaba akechi sibs

annoying younger brother energy vs annoying older brother energy .. FIGHT !!

[moonbaby26]

So I’m rewatching Punk Hazard. I only cherry picked episodes before on my way to Dressrosa (I couldn’t wait to properly meet my man in his own kingdom, okay? 😅)

But I’m at the part where Brownbeard is exposition dumping on the Straw Hats as far as the destruction of Punk Hazard four years ago by “Vegapunk” (Brownbeard is still heavy on that Caesar koolaid here).

And was no one going to tell me of this travesty!? We lost Doflamingo’s brethren!!! R.I.P. DOFFY’S FLAMINGO PRESERVE!!! 😭😭😭😭

I was dying. 🤣 We had to animate the incineration of the flamingos, didn’t we? They were his, I don’t care how or why. Punk Hazard is practically his backyard. Dressrosa didn’t have enough room, that’s all. I’m headcanoning this and that’s final. 😤

[veroinfaciem]

I was looking through the old stuff I drew and found Brook 💀! I do believe the man has his own brand of fast-food in the OP world.

[black-and-yellow]

Buggy stuff. Let's mix it up a little.

[where-does-the-heart-lie]

Hello hello! Chapter 2 of a fic ive been working with @ohboyhowdybuckaroois out!!!

heres some art i made for the chapter :)

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[puppetmaster13u]

@f4nd0m-fun here (I hope they allow us to ask with secondary blogs soon)

Just how wild do you like your Batfam cryptids? I've got ideas for days.

One is a wing fic where all the bats essentially end up half demon. Thomas and Martha make a deal with Alfred to help fix the city and clean up the curses and everything, and. Alfred asks for 'the souls of your descendants' at the point, not caring much for humanity but hoping to get ahead of those pesky demons in his soul collection (so and so said he has Constantine's soul but that's only a piece! What about a bunch of souls that have been tainted by the spirit of a city that has never had reason to hope? Now those are some rare and dark souls).

The Waynes were hoping he'd take their souls instead but he refuses (maybe they're too full of hope or something) but, over time, he grows attached and ends up giving Bruce a shard of his power, allowing him to transform into a demonic winged form based on an animal for his protection after his parents die. When he's young the form is a snowy owl, but once he come back and became Batman his wings have changed. Each of the babies is the same way. As Robin, they gain their baby wings, but, once they move to a new name, their wings evolve.

'The Demon's Head' isn't just a fancy title, the Al'ghul's are demon descended, so Damien is at least a quarter demon even at the beginning, but Alfred's power can't be passed genetically like they thought, so he was born grounded. In this, he shows up sooner, Talkia asking Jason to take Damien with him to his father since she knows her father will kill him for being wingless.

Tim, poor baby. He couldn't fly as Robin because his wings were a shattered mimicry of Jason's Robin wings. He felt like he was in the shadow of the previous Robin, making the 'replacement' nickname sting even more, but, eventually, he grows into the wings of a cardinal and learns to fly.

I'm not sure if Alfred marks Barbara as his person, but if not, maybe he regrets not doing so, thinking that she might not have ended up paralyzed if he'd given her power. But also she's not really considered a 'Wayne descendant' life the kids Bruce adopted, so he'd have to directly make the deal with her. Maybe he does this with Stephanie when she comes along, still thinking about how Barbara might've been better off with a deal. Also, he keeps trying to hold off on gathering their souls because he's grown attached. I figure he'd probably end up wanting to turn them into proper demons too tho when they eventually die but, for now, until the city has been restored (if it ever will be), the Batfam is essentially immortal, and Alfred might be pulling some strings so no one realizes the Waynes are as well. As a side note, I debated Alfred x Lady Gotham for this story.

-

Then I had a dpxdc version of this where the wings were still demonic in origin but basically Scarecrow and Bruce are many many family lines removed cousins from an ancestor who was siblings with Jack Nightingale. On top of that, Danny had wings but they got charred when he was electrocuted. This one also has Clock x Pariah and they have wings due to something to do with ghosts, Danny gets a cloak made out of their feathers while his ghost side slowly grows its own wings (but he'll never have wings as a living again).

-----

Sorry for the long send, I got a bit carried away, but if you want I can dig up my AU again and share what I have for the wings at least, not sure what else I've got written down.

#colony of bats AU

Honestly I love both of these ideas, but what if they were say, combined.

Alfred gifts Bruce a shard of his power- everyone knows the Waynes have wings, even if in most cases too small to fly. But the wings are feathered, usually bright and flashy for the men who inherit the trait.

Which means they're very identifiable. But like you said, Alfred gets (ugh) attached to this little mortal. He's practically raised him and honestly thinks it's adorable watching him manipulate the other richfolk at galas into thinking he's such a "polite young man." Bruce is practically his baby!

So he gifts him a bit of his blood (which we know via Constantine can extend ones lifespan including giving them a bit of healing) and an itty bitty piece of his own power. Just enough for Bruce to be able to willingly call upon it. Just enough for him to disappear into shadows. Just enough for his eyes to gain a hint of an unholy glow. Just enough for a hint of claws. Just enough for feathered wings to shift into jagged mimicries of his own.

You know what could be an interesting thing? The wings are Realms in origin. We know the FentonNightingales separated into the Fentons and Nightingales some time after Jack, so whose to say that the Nightingales didn't get into magic. Perhaps they were given a gift to thank them after a bit of protection or assistance. And the infinite realms are well, infinite. It attaches to all worlds, including say the more demonic ones. But whose to say none of the Fentons made a deal or three in the generations following. They were witch hunters after all, perhaps they need something to keep up with the "traitors" of their bloodline.

Perhaps a deal which resulted in those matching wings.

Now, how could they find out their relation with the Fentons? While there could be the adoption route, what if instead it was right after Danny's accident.

He died screaming, visibly got electrocuted, his wings are torched, there's no way they're not taking him to the hospital. Which means things like blood tests, maybe even a donated organ or two because someone doesn't get blasted with that much electricity without consequences.

Which, it's the batfamily, they definitely have alarms set up for any sort of family pings for both themselves and their rogues. Just in case.

------------------------------------------------------------------------------

Also had no idea where to put it but if this includes demons and ghosts feeding on fear, or emotions in general, then Scarecrow could be instinctively attempting to feed and grow his wings. Also he deserves raven or rook wings. Maybe a jay's if you wanna go for color.

Oh my gosh, even if Alfred and Gotham don't get together, they definitely have tea together and spar. They're definitely co-parenting either platonically or romantically, it doesn't matter this is their specialist lil boy. Who then brings even more of the specialist lil ones ever!

God I love the implications of Clockwork and Pariah creating a cloak of wings for a ghostling for them to use as their feathers slowly grow back. Love what that implies for the culture of the ghost zone. Love the idea of it maybe having an influence on Danny's wings in ghost form since a ghost's appearance is influenced by their image about themself.

[pers3phone399]

sorry babe can't talk rn i'm letting another fanfic completely overtake all of my waking thoughts

(it's "Methyl Nitrate Pineapples" and its sequel "Cherry Bomb Alchemy" by @fablecore (razbliuto on ao3) if you like One Piece OC stories and one (1) emo Surgeon of Death you should go read it too)

[birds-and-friends]

Ocellated turkey ML204818631 / ML204818731, Luis Mario Arce via Macaulay Library