#fuck you fuck your dreams

[beelzeballing]

omw to go out for dinner and maybe get a nice drink (either dunkin or boba). will pop open the tiny champagne bottle ive been saving for a special occasion once i get home. maybe ill treat myself to another vocal synth purchase. it is CELEBRATION TIME.

DING DONG THE SON OF A BITCH IS DEAD!!!

[housederiva]

Do not let anyone drive you away from fucking that old man in the coming months my brethren

[ohposhers]

troll who isnt allowed caffeine or she'll reenact the Hammy energy drink scene from over the hedge clay prefers tea anyway

[stefisdoingthings]

wings

[finisnihil]

“They finally made this theme more blatant-" Why does it need to be blatant. What's wrong with subtlety? Concepts can be underused but subtlety is not neglect.

Blaring all your concepts and themes is not good writing. It's so disruptive to a story's flow when the characters look off the screen to be like "See? This is the concept. The idea. The theme."

If you can feel the hand of the author becoming too heavy that's bad.

For example: I see people saying Azula's abuse in ATLA is more blatant in the live action and it's good because "it's being discussed more". It already was discussed at length. The show made it clear she was a victim at every turn, every behavior, every reaction, it came from a place of trauma. It was made clear that she was scared of ending up like Zuko because Zuko was an example of what would happen to her if she failed. When she says she's better than Zuko it wasn't just because she was raised to think hersef superior to him but because Zuko failed and failures get mutilated and exiled, failures are abandoned. In that final Agni Kai the music is morose and somber because this isnt some epic battle its a fucking tragedy, the burning out of "Ozai's brightest light" and Azula finally succumbing to her terror and trauma she was repressing now that her worst fears are realized. How can you see a fourteen year old girl chained to a sewer grate wailing and writhing and breathing fire desperately as unsympathetic? Even Katara and Zuko are horrified as to what has become of her.

The writers weren't looking us in the eye and saying "See? She's a victim too" when they wrote this, they weaved it in. They weaved it into her obsesison with symmetry, her extreme perfectionism, the way she talks about Ozai, the ways she calls herself a monster, her isolation from those with healthy home lives, all the ways she held herself together and ultimately all the cracks and seams that she shattered down when she fell apart. It did not need to be blatant to be clear.

[knifearo]

being aromantic is like. hey btw you're going to live a life that is the culmination of most of society's worst nightmares. sorry lol ✌️ but then you turn around and take a really good hard look at it and it turns out that living in that nightmare is fucking awesome and you get to wake up every day and take that fear that other people have and laugh and hold it close until it's a great joy for you instead. and being happy is a radical act that you define instead of someone else. and you're sexy as fuck that's just a fact of life i don't make the rules on that one

[katabay]

ONCE UPON A TIME, THERE WAS A KNIGHT...

the visual inspiration for this was a combination of Frederic William Burton's Meeting on the Turret Stairs and also Bernardo Cavallino's The vision of St. Dominic receiving the Rosary from the Virgin

this was supposed to be just a one off illustration to get the thoughts out of my system, but then I started thinking about medieval politics and warfare and plagues and a castle and home as both a place of refuge, a prison, and a tomb, so perhaps they will end up as ex voto characters as well.

you may say, hey! that rosary looks like it has too many beads! it's a fifteen decade rosary, probably. dominicans are really into marian devotions. it works out.

also. spiral style stair cases. oh boy. it was that unexpectedly more difficult than I originally thought it would be to draw. the more I think about it, the less I understand them, even though I had a million photos of the stairs in front of me while I was drawing it.

⭐ I have a tip jar (ko-fi)!

⭐ and other places I’m at! bsky / pixiv / pillowfort /cohost / cara.app

[robobee]

once again tormented by how Declan lived in a horror movie his entire life. you're two years old. your parents decide to kill this random new brother they pulled out of nowhere one day with no pregnancy. you display basic human decency to the baby (you are hardly 3 years old) and then your parents agree not to kill it. one day within 6 months of that you wake up and your mom has been replaced by a woman that looks *exactly* like her but Is Not Her and you can't verbalize how you feel about this (you are four) but you Dislike It, and your real mom never comes back so maybe you start to forget why you feel so uncomfortable with cloth mom in the first place. you have no access to any other people except this thing posing as your mom, the random baby that you are told can and will bring stuff out of his dreams, and your dad who is NEVER HOME. and then you are five years old, and every night you stay up to watch your little brother lest he bring back anything like, God Forbid, a human being.

He brings back a baby. He tells you it's supposed to be a better brother, because you suck, because you don't sleep and you live in a house with two fake people and a father who slowly seems to be forgetting who you are. You are six.

You are eight. Your dad starts taking you with him. You get thrown into car trunks and listen to him get beat the shit out of. You realise everyone wants your family dead, at best. Your father seems to have entirely forgotten he was ever your father, and seems only interested in the brother who dislikes you because you don't coddle him like everyone else does. Your father ignores the new dreamt thing, so you and your strange mother take care of it. You are nine.

[aro-throughyourchest]

Bro being c!tubbo, seeing that fucking tower. You’ve been going through the hardest, most numbing time of your life and all you want to do is see him again. you don’t know why you’re going on, maybe there’s too much going on. he doesn’t want to see you.

the area is barren. it’s desolate. you’re too late.

you took too long, you should’ve never come at all—you see that fucking tower. it’s the block limit. it towers over the block limit.

you exiled him. and you were too late.

that’s my 9/11 right there

[signanothername]

Dream’s room within Nightmare’s castle

This comic takes place after Nightmare’s theoretical death that I discussed before >:)

A bit of context under readmore

[divineandmajesticinone]

CENTURY OF LOVE (2024) I 1.04 "Vee is the fox that conceils himself in Ms. Wad's fate. Like the nine-tailed fox that possessed the consort Daji."

[bugflies00]

dsmpblr now all we got is each other and the reblog button

[nymphomatique]

creampies with miguel are probably so delishus… you know that he still fucks into you while the both of you cum because yes you’re cumming together, miguel wouldn’t have it any other way. he fucks into you and is just a groaning mess like oh em gee i know this man is so vocal. “fuck baby, gonna put a fucking baby in you. you like my cum filling you up?” as he pumps you full. he grips you anywhere he can, just letting the ecstasy take you both over, feeling you squeeze around him from the aftershocks of your shared orgasm. he loves to look down and slowly pull his dick out and see his cum just drip out of you like a faucet. like just imagine him biting his lip and looking down at the complete and utter mess the two of you made, your fluids wetting the bed. just seeing you lay there and just look so full of him gets him going. and guess what? he goes AGAIN because he wants you “fucking leaking full of me in the morning. can’t waste a drop.”

[novelconcepts]

wait wait wait, so we had: a gorgeously diverse, complicated story about the folly of the Jedi, set against the backdrop of truly fascinating Force witch lore and a potential deep-dive into the real fallout of suppressing emotion, complete with totally rad lightsaber fights, grayscale characters all around, and the coolest fucking helmet in the history of the franchise, all tucked into the world of Star Wars, which makes money simply by existing--and they cancelled it?? i am going to explode

[inkskinned]

it just sucks because nothing is ever fucking made for you, and if it is made for you like 75% of the time it gets chopped into little pieces by every person alive because this is the one thing you have, so it has to prove itself to you.

like, a thing can't just be for women. men need to assign it to women. women have to experience "must" or "should" before their hobbies and passions - women are allowed to do silly, passive things like tuck our ankles and titter behind a fan, or something. women are allowed to, they are welcomed to. like the world is a house and we are supposed to be in the kitchen and now we are being given the divine right to enter the living room if we bring chips

because when it becomes for you, or about you, that is when the thing is vile. you should/must wear makeup so you can appear beautiful to men. once you wear makeup for yourself, or because you yourself enjoy putting it on, then you are no longer doing the right thing. there is a reason men hate certain fashion trends. there is a reason men hate things like the pumpkin spice latte - because it's not about them. you are buying it because it is good for you. they degrade your passions and interests. there is a reason women-led fields are largely seen as being "not a real" profession. when you are a good cook, that is because you can provide for him. close your eyes. you're not going to be a chef, be honest. that is a man making food for himself.

bras are made so breasts will be appealing to men. they are rarely about comfort or support. you have given up entirely on the idea of pockets. young girls have to worry about a shorter inseam on their shorts. a girl on instagram gets her septum pierced, and men in the comments are rabid about it - i just want to rip it out of her face. she'd be beautiful without it.

and fucking everything is for them. even the media that is "for you" is for them, eventually. remember "my little pony"? remember how hard it is to convince any executive to believe that little girls are worth selling to? in the media that is for you, you see little ways that you still need to make it accessible for them - the man is always powerful, smart, masculine. he is a man's man. the media usually forgives him. it usually says okay, some men are awful, but hey! gotta love 'em. because if you don't hold their hands and say "this is literally just a story about my lived reality", they shit their pants about it. they demand you put them into the media that's for you.

these are people who are so used to glutting themselves on the world. they are used to having every corner and every dollar and every place of leadership. so you say can i please have one slice of cake, just for myself, please, holy shit. and they fucking weep about it. they say you're being unfair, because some of their one-thousand-slices aren't beautiful, and your singular cake slice doesn't have their name on it. and aren't you being rude by not offering to share?

and honestly. fucking - yeah, man. you were kind of surprised, because the cake is a little basic (you bake at home, you're way past this stuff). but holy shit, it was nice just to be offered cake in the first place. you're used to having to starve. you're used to getting nothing, but going to the party anyway, because you're expected (professionally) to show up. you liked that it is a simple cake, and that it is warm, and mostly: you like that there is, for once, a cake-for-you.

in the real world, outside of metaphor, it feels like fucking being slapped. barbie didn't even say anything particularly unusual; it literally just made factually evident points. there are less women in leadership than men. we can look at that fact objectively. that is a real thing that is happening. and the movie is aware that it has to defend itself! that it has to spend like half an hour just turning to the camera and saying: i know this is hard for you to understand, but this is a real thing that women experience.

it's just - this is that one kid on the playground who thinks its allowed to hog all the toys. he builds this hoard that nobody else is allowed to even look at, or he'll get aggressive. everyone's a little scared of him, so they let it slide, because his daddy gave him the golden touch. he hates when people cry and thinks bullying is cool. he writes boys only! on a big sign and makes all his friends take "alpha male" classes.

and then girls pick up barbies, because there was nothing left for them. and in the void they've been given, with their scraps: they make long, spiraling narratives about how barbie is actually descended from snakes and has given her righteous followers magical (if concerning) powers and can speak 32 languages (2 of which are animal related) and has big plans for infrastructure (beginning with the local interstate). and the boy comes over, and he has a huge fit about how the girls aren't "including" him. he wants to know why the girls aren't making the story about ken.

"we didn't like your story." the girls blink at him. they point to his war stories and the gi joes and the millions of male-led narratives and how still in the modern day men get two-thirds of the speaking roles in movies and they point to men making mediocre shows that don't get lambasted and they point to men encouraging toxic masculinity and they point to men everywhere, men and men and men. and they say: "how is this our fault? you had ken."

"no!" he is already back to screaming and stomping his feet and tearing at his hair and intentionally reminding them that men are holding back thinly concealed violence and he says: "if it's not for me, it's actually sexism."

[wordsinhaled]

it was really only a matter of time until edwardian payneland happened and what if i channeled maurice about it. just a little

-

Charles is the son of the groundskeeper at St. Hilarion's School for Boys while Edwin is a pupil there. And he can't help but notice Edwin—how he’s nearly always alone, or else being harangued by the cruel older boys who call themselves his peers.

Charles privately thinks they hardly seem equal to him in poise or grace or manner. They are boisterous, brash, crass, violent, all overlaid with a veneer of false propriety, but Charles can see the cracks in it. He knows that sort by how they are inside, and they cannot be like Edwin at all. No, Edwin Paine's got a sad, drawn sort of look about him that Charles can't help recognizing. This lonely boy who feels somehow kindred in a way he can't put a finger on, but is pulled to him all the same, though by rights he'd do better to keep his distance.

Edwin often sits by the lake by himself, to read, or to do his assignments in the shade of the trees. Picturesque as a painting, he is. One day Charles dares to approach him, though he knows the risk in it—prepared to be rebuffed, rebuked for his untoward attention to someone he is meant to ignore; but the boy does not turn him away.

And so they become friends. Tentative, and then less and less so.

Together they explore the school's sprawling grounds, all of whose surprising hiding-places Charles Rowland knows by heart, having wandered them himself for years and made them his own refuge. The woods become theirs; the shore by the lake theirs; the shade of the trees theirs. The attic, where no one comes to look for them in the dead of night, also theirs.

And then one day Charles notices a group of boys surrounding Edwin. The usual cadre, and they're posturing, their voices loud in the autumn air. They’ve ripped Edwin's penny magazine from his grip and are tearing pages out of it, scattering them to be plucked up by the wind. Charles can do nothing else but step in. He shouts at them to back off, puts himself between them and Edwin, and gets himself thrashed for his trouble—but they, at least, finally leave Edwin alone.

Edwin, for his part, cannot believe Charles would be so reckless for his sake. Charles has not yet mentioned to him that he is used to this sort of treatment, and sees worse at home. They sit together in the boathouse by the lake, cross-legged, close enough for Edwin to dab carefully at Charles’ split lip and bleeding knuckles.

“You should not have done that for me,” he chides, though it carries no heat. “What will happen now?” He thinks word is sure to get back to the school, and there will be a scandal. Those boys, who so vocally despise Edwin, will hardly be quiet in their outrage, their humiliation. Charles’ father might be relieved of his post, and then Charles’ family will have to leave St. Hilarion’s. That is how these things go.

And what was it all for? For Edwin? How could it have been worth it?

“Doesn’t matter, does it?" Charles is saying, when Edwin surfaces from his troubled thoughts. "Couldn’t let them treat you like that. They had you five to one. And that, just ‘cause you’re different. I know how it is.” Charles’ eyelashes are very long, and the light turns his eyes a warm, deep amber as he talks fiercely, insistently, in defense of Edwin.

It’s terribly forward, Edwin thinks. And, despite every misgiving, he welcomes it. No one has ever fought for Edwin before. No one has ever spoken about him with such conviction.

Then Charles seems to lapse into pensiveness. “You didn’t have to…” he says softly. "All this." He gestures, with the free hand Edwin isn’t busy wrapping up, at the little bottle of antiseptic, the scissors, the roll of bandages and the cloths, all spread out on the floorboards between them.

“Of course I did,” Edwin says.

Really, he had not given it much consideration. He had had only the presence of mind to memorize the sight of Charles kneeling in the dew-damp grass, angry gaze still spitting fire at the backs of Edwin’s retreating bullies. He’d had blood in his bared teeth, and the briefest flash of desire had seared through Edwin—to kiss him. Merely in thanks, perhaps, but still, to kiss him.

He would know the warmth of Charles’ mouth. Fleeting, forbidden, it would sear itself into his mind for ever.

Of course, he had done no such thing; for he could not. Instead, he’d done the only thing he could do—bent low towards Charles, and squeezed his shoulder once, as if to say, Wait here for me. I will come back to you.

And as he'd turned on his heel and gone off in the direction of the infirmary, leaving Charles there with dusk encroaching, Edwin had hoped Charles understood his gesture for the indelible promise it was.