#i have no idea where that tag came from

[wereoz]

got caught in a timeloop (<- started pacing)

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[kagayakukagavaku]

Don't worry guys I fixed it

[luck-of-the-drawings]

"I think this is the most inhuman; and human, that I've ever felt.." MUCH CAN HAPPEN IN A YEAR. IN FIVE YEARS. A DECADE. imagine how much can happen in a century. just ONE (1). How will you grow? what phases do you find? even in 5 years, you will find patterns.

[gumm1defloor]

Vox can understand Velvette just fine. They don't necessarily need to get along all the time, but they have a mutually beneficial contract that guarantees her support in the most efficient way possible, just how they both like it, short and strict and to the point. Vox does not understand Valentino. It drives him unimaginably, disgustingly insane. He knows how to handle him, make no mistake. Valentino is a never-ending powerhouse that wrangles out content from his employees like there's no tomorrow. He's proven himself to be Vox's most lucrative investment yet. He is resourceful, well-connected and most importantly predictable enough to rein in. Because he listens to you, because he needs you.

He is also, undeniably, out of his goddamn mind. Yet you've already invested too much in the corporate empire you've built together and there is no point turning back now that you have him so close to your side. It's OK however! He couldn't possibly be stupid enough to throw away the best partnership deal he's ever had just for the sake of something petty cause -oh, wait - he genuinely might just be that stupid and you never would've guessed because he's so cocksure of his bullshit that 80% of the time it ends up working in his favor anyway.

Fuck his life indeed. The kicker for this of course is that Valentino, genuinely does believe he has struck gold with Vox. Valentino is a clingy, possessive, immature, perverted, sadistic, egotistical man-child with severe rage issues and zero impulse control. No he is not aware of this at all. No he does not know why nobody is able to tolerate him and why every single person he gets close to hates his guts with every inch of their burning rotting souls. All he knows is that hell has now given him a flat faced prince in shining liquid crystal armour, riding on a cash filled horse with promises of power and luxury, who's practically handing him success on a silver platter. Doesn't mean that Val trusts him, doesn't mean he doesn't enjoy seeing him lose his shit. But at the end of the day vox has his back, and as long as Val keeps calling for him, he'll eventually turn up and make everything better. Cause hey if Vox hasn't left him yet for this long he must be doing something right. Right?

[ectonurites]

Byler Week Day 5 — Secret Identities

very loosely interpreting the prompt for today but i've had this idea for a while and... secret identities, Superheroes, that works. anyone who knows me well probably could have seen something like this coming LMAO

also trying to draw Robin & Superboy costumes that look thrown together and home-made when i have spent so much time drawing their actual designs was a challenge

[cheese-water]

Now that Slime has met and loves Sunny, I need her to show him her mermaid ma. I just need to know his reaction to his daughter playing pretend with her mother’s corpse. Like would he feel guilty? Or despair at the sight? Would he try to play along or tell her the truth?

Would he realize that the same thing his new daughter doing is what he’s been doing with his old daughter for months? Will he become hypocrite or will he believe that Lenay’s legs have been stolen too?

[aroaceleovaldez]

figured i'd share my WIP - yknow how I keep talking about "finding the limit of how many PJO ocs one person can have" and coming up with names/divine ancestors/etc? haha. yeah. behold my romans.

This is my project to create & make references for every Roman in the legion, including filling in blanks in the cohorts. For askblog purposes, because I like consistency. And I think it's fun and makes it more interesting. Yes there is a CHB counterpart to this that is done.

I still need to make more refs - all of the labeled chars here are canon. The rest I made up. This is 5th cohort (purposefully smaller than the other cohorts) through half of 3rd (both are about 30 each since the max per cohort is 40). I also have some misc romans not included here and still need to make references for the rest of the legion & messengers/healers which I have decided is a separate category.

These all will eventually be going on my wiki for my askblog, including the other cohorts once I finish those. Yes you may ask about any of these chars, they do all have names/divine ancestors/lore/etc. I'm having fun I promise.

[moeblob]

Rice. From my plot that's literally just a game of chess. (he's a rook)

[magicicephoenix]

some @pillowspace whiteboard things!

[presidentheartbeat6]

VERY blue eyes. some might say FRIGHTENINGLY blue eyes.

[harvestmoth]

okay last one. au where nothing goes wrong at all ever (a lie) and melia venam gay moment

[fffuckthelaxbros]

alternatively‚

Also if you’ve only read the main comic so far I recommend also checking out the extras tag! There’s a lot more fun stuff in there (like. A lot)

[hms-incorrect-quotes]

Mind, at Soul: Quit being depressed in my kitchen; you're going to spoil the food.

[pacifistcowboy]

You ever think about how scary an Enerjak Silver would be.

admittedly, i’ve never read archie, but from what i’ve read on his wiki, i can see enerjak is some sorta demigod-spirit that possessed a few echidnas and has practically limitless power? so yeah if silver got possessed by enerjak it would be terrifying. silver’s already powerful as he is, so if he was possessed by this being with god-level strength, psychic abilities, and reality-warping, it’d be all over. he could probably turn the planet to dust with the flick of his wrist. the universe itself would be the thing at risk, the planet would already be gone. enerjak silver would be cool as hell to see. completely undefeatable psychokinetic armoured boy? it’d look so awesome.

anyway since i’ve never read those comics so i couldn’t go too in-depth with this question due to not knowing enough about enerjak, i decided to try design enerjak silver! :]

enerjak’s armour is seemingly inspired by egyptian royalty and armour, and since silver is italian, i decided to base enerjak silver’s armour on roman soldiers! i don’t know if that ended up coming across in the finished design, but i swear the inspiration is there ehfjejfjwjf. i tried to have it so silver’s quills came out the top of his helmet like the crest that some roman soldiers’ helmets had, also i imagine the visor covering his face is moveable, so he can lift it up off his face :]

[thetomorrowshow]

scars

empires superpowers au masterlist (not up to date)

i have no clue where this idea came from but here *hands you a tattooed jimmy*

this takes place about 8 months after then end of ‘poisoned rats’.

cw: past abuse, mentions of needles, scars

~

“Look at that one,” Jimmy points at the screen; Scott pauses in his scrolling. “It’s a poppy. You love poppies.”

“. . . I do,” Scott says, glancing at Jimmy quickly before resuming the scroll.

“That one’s a flag, but it could be a pride flag. That’s why I saved it. The birds are a bit cheesy, but I thought I’d include them anyway.”

Scott doesn’t say anything, just keeps scrolling through the document. He knew Jimmy had been researching something, but . . . he hadn’t been expecting this.

Before him, on Jimmy’s laptop, is a three-page document that is a collage of tattoos.

Some are better than others—there’s a celtic knot that looks pretty bad, and Jimmy’s right about the birds being cheesy, but the poppy is understated and delicate, and a cute cartoon cat makes him smile.

That’s all well and good, but the problem is: Scott has no clue why Jimmy is showing him tattoos.

Jimmy points at a bundle of stars, saying something about how it reminded him of Scott, then at a feather, then a ladder, which he explains could be combined with the stars. He quickly passes over an abstract canary, hands twitching and tripping over his words, to point out an intricate subway car, then a tiny soccer ball.

Scott interrupts right as Jimmy starts to explain an iceberg tattoo.

“Jimmy, I—this is great, but I don’t think I understand. Are you wanting me to get a tattoo?”

Jimmy blinks, laughs nervously. “I—Scott, these are—these are cover-ups. For scars.”

Oh.

Suddenly, there’s a lump in Scott’s throat.

“I—a tattoo is a big decision,” Scott manages to say around the lump, his eyes catching on a long scar down Jimmy’s left bicep. “It’s something you can’t change. Are you sure?”

Jimmy levels an exasperated look at him. “For one thing, I’m an adult. I know it’s a big decision, you don’t have to remind me. And I promise I’ve thought about this. I shouldn’t have to tell you that I have.”

“You’re right, I’m sorry,” Scott starts to amend, but Jimmy forges on.

“It’s my body,” he says. “It’s mine, and I can have the freedom to do what I want with it, because I’m an adult and it belongs to me. And when you—when you asked if I was sure, it felt like you were treating me like a kid, or like I don’t own my body. And it felt bad.”

Shame curls in his stomach. Jimmy’s right, he shouldn’t have responded like that. It’s perfectly normal for people to get tattoos, and for their partners to support them in it. “I’m sorry,” he apologizes again. “I didn’t think before speaking. I said something my parents would’ve said, and I should have considered what you just told me.”

Jimmy smiles, leans his head against Scott’s shoulder. “It’s fine. I was showing you because I wanted your opinion, and it’s all right if you don’t like the idea of a tattoo. But I would’ve liked for you to say that outright if that’s true, instead of telling me things I already knew.”

“No, I think it’s a great idea,” Scott hurries to amend. He pauses, taking a moment to get his thoughts in order. They’re working on having more open conversations, so that they don’t have repeat events of Scott’s Nightmare Situation of Last Month, as they’ve dubbed it. “I think a lot of tattoos are good,” he says eventually, “but some suck. So I’m happy you’re asking my opinion, because I don’t know if I’d be able to look my boyfriend in the eyes if he got a skull surrounded in roses on his bicep.”

That gets a laugh out of Jimmy. “Don’t think yours is the only opinion I’m getting,” he teases. “I know better than to trust a man who dyed his hair red all through college.”

“It looked good!”

They look at tattoos for a little while, Scott immediately vetoing the trio of birds and a guitar. Together, they separate the pages into ‘no’ ‘maybe’ and ‘yes’ images, dragging the little Darth Vader holding a lightsaber (a scar being the lightsaber) into ‘maybe’ and the celtic knot into ‘no’ and so on, until about half of the tattoos have been sorted.

And if they get distracted halfway through and end up making out right there on the couch? Well, they can always finish it later.

-

Three weeks later, Jimmy exits the tattoo parlor with the long, thin scar on his left bicep covered by a poppy, red and irritated from the procedure. Scott had been with him the whole time, holding his hand. They’d had to call for a break halfway through, but it had overall gone very well, and Jimmy had gotten into the passenger seat with a huge grin on his face.

“I thought I would be scared of the needle, but it wasn’t even that bad!” Jimmy says excitedly, twisting his arm around to check out the plastic-wrapped tattoo. “Did you hear when she said I was really good at staying still, especially for my first time? I’m going to get a good grade in tattoos, which is both normal to want and possible to achieve.”

Scott laughs out loud at the meme reference, resolving not to think about why it is that Jimmy’s so good at not moving while needles are stuck into him.

“Do you like it?” Scott asks instead, adjusting the rearview mirror before shifting the car into gear.

Jimmy doesn’t answer for a long moment. When Scott glances over at him, he’s let his arm fall, staring straight ahead, chewing thoughtfully on his lip.

“Yeah,” he decides eventually. “I really do. Now when I look at it in the mirror, I can be reminded of you instead of them. And . . . I can make choices with my body. That feels really good.”

“I can imagine.”

Jimmy twists his arm around again, peering at what little of the tattoo can be seen through the plastic. “I like it,” he says, quieter. “Do you like it?”

“It was my top choice, Jimmy,” Scott reminds him. “And it looks cute on you. Much better than that fish would.”

Jimmy snorts. “You know what, since it was Lizzie’s idea, I’ll tell her I’ll only get it if she gets it too.”

“Please—if you get fish, get a different one,” begs Scott. “It was huge, it had that horrible ‘gone fishing’ sign—get something cute, not something that screams fifty-year-old midlife crisis.”

That gets a laugh out of his boyfriend, and a little tension that had been in Scott’s body since before the appointment finally dissipates, allowing his shoulders to ease and his fingers to loosen their grip on the wheel.

“I’ve been watching videos on word cover-ups, so I think I might get one of those,” Jimmy says when they’re almost home. “I’m . . . I think it would help, even though I can still trace the letters. But I’d like to try scar treatment first, so I don’t think I’m gonna get another tattoo any time soon.”

“And here I was thinking my boyfriend was about to get all inked up and awesome,” Scott teases.

“And something for words would have to be really big, and there’s not much I want that’s good for that,” Jimmy continues. He glances at Scott quickly, then turns his gaze out the window. “That’s life, I guess.”

Scott thinks that’s the end of the conversation. He’s happy leaving it there, with vague plans and ideas in mind to experiment with.

But later that evening, at home, as Jimmy washes dishes and Scott dries them, Jimmy blurts out, “Would I be wrong for wanting a canary tattoo?”

Scott pauses. “Um. No?”

Jimmy sighs. “See, it’s the only one that I think I would want that’s big enough and colorful enough to cover any words. But I don’t know that I could be okay with having it cover up one of those words, because of . . . connotations. But also. . . .” he sighs again, sets down his dishcloth.

“Scott, being the Canary was the only freedom I had, as awful as it was,” Jimmy explains, and it’s a credit to how far he’s come that Jimmy’s voice doesn’t even shake. “I didn’t love it, but I could go outside. I could literally fly. And I looked pretty cool, honestly. So if I got another tattoo, I think it would be a canary, but . . . I’m afraid that’ll cause more harm than good, with my mental health and all.”

“I . . . don’t know,” Scott says honestly, sliding a plate into place in the cupboard. “I’m not in your head. And it’s not my body. But you don’t have to decide today. You don’t have to decide any time soon. You can talk about it with other people, and with Nora. And we can start looking into scar treatment, if you think you’re ready for that.”

Jimmy picks up the cloth again, runs it under the water. “I don’t know,” he says eventually, voice unreadable. His face has set back into that guarded look, the one that Scott is now so familiar with. “Maybe.”

Whatever Jimmy’s unspoken other concerns are (and Scott knows that they exist, he can tell in the tenseness of his stance), Jimmy abandons that topic of conversation. He doesn’t bring up tattoos again for weeks.

But every so often, Scott catches him admiring the poppy, and he can’t help but feel a bubble of happiness.

Jimmy finally has a good reason to look in a mirror.