#igi art

[isshusgotissues]

penny arson crimew

[f-l-r-n]

hmmmmmm the sv protags and nemona sure look strange...

maybe its just me tho

[abwwia]

Igi Lola Ayedun

Left a grave to admire And as we reach for the sky, 2023

Oil and gold wax on concrete and mortar pigmented with lapis lazuli, indigo, pearl, and gold powder

10 1/5 × 6 3/10 in | 26 × 16 cm

[theelibugs]

It's 2am, no one will see this, and I don't care I'm so proud of how fast I threw this out

[lamplighterr]

ID: Beryll is standing, facing the viewer, furious. He stands amongst flames and is pointing a sword at the viewer. Behind him is a halo in the shape of his kingdom's crest. End ID

Why are you, as an Intergalactic Idiots fan, listening to KICK BACK by Kenshi Yonezu?

[zemnarihah]

just hooked up my printer in order to scan my design hw

[croquis-el]

Well, um, hiya☆

I've come to life a little here and brought you some interesting features in the characters' spoken language

To begin with, let's look at the male trio of main characters: Naruhodō, Mitsurugi, Odoroki (Wright, Edgeworth, Justice)

Some people know it, some don't, but in Japanese there are many options for how to refer to yourself, i.e. "I" can be said with different pronouns and they are all ranked by gender (there are also gender-neutral ones) and the level of politeness.

The first one we have is Naruhodō.

He always, regardless of the situation, uses the pronoun "boku" (ぼく) in relation to himself.

僕 (ぼく)

僕 (boku) is a first-person pronoun often associated with male speakers. It has earnest, polite, cultured connotations. Overall, 僕 (boku) has a softer, less aggressive than 俺 (ore), another common pronoun with masculine connotations.

Naruhodō uses it both in the first trilogy, when he is 24-26 years old, and after the 7-year gap, when he is 33-35. It doesn't matter if he is in the courtroom or talking to friends - he always uses "boku".

言わずと知れた、ぼくだ。 若手実力派弁護士として、 今年で3年目に入る。

Iwazu to shireta, bokuda. Wakate jitsuryoku-ha bengoshi to shite, kotoshi de 3-nen menihairu.

It goes without saying that it is me. I am a young and talented lawyer, and this is my third year in the industry.

___________________________________________

ぼく････今、弁護士を 目指して、勉強しているんです。

boku ima, bengoshi o mezashite, benkyō shite iru ndesu.

I'm studying to become a lawyer.

___________________________________________

いいや。ぼくは、 大学は芸術学部だったからね。

Ī ya. Boku wa, daigaku wa geijutsu gakubudattakara ne.

No. I entered the arts department at the university.

___________________________________________

When addressing someone, Naruhodo uses pronoun "omae".

お前 (おまえ)

お前 is a second-person pronoun that's masculine and rough — it's often used for cussing! It could also be a way to show affection to close friends, partners, and family in a very casual manner.

It is curious that he only addresses Mitsurugi this way, while he addresses the others (Mayoi, Odoroki, etc.) by name + suffix (Mayoi-chan, Odoroki-kun).

もしかして、おまえ････ やったんじゃないの?

Moshikashite, omae yatta n janai no?

Maybe you... did it?

___________________________________________

そういうおまえだって、捜査の時は 証拠品をつきつけまくってたとか。

Sōiu omae datte, sōsa no toki wa shōko-hin o tsukitsuke makutteta to ka.

Even you, who is like that, apparently presented a lot of evidence during the investigation.

___________________________________________

おはよう。思ったより早かったねえ ････オドロキくん。

Ohayō. Omottayori hayakatta ne e Odoroki-kun.

Good morning. It was earlier than I thought... Odoroki-kun.

___________________________________________

Next up we have Mitsurugi.

Mr. Politeness uses the pronoun "watashi" when referring to himself.

私 (わたし/わたくし)

わたし (watashi) is quite a common first-person pronoun as it's used regardless of gender, and both in casual and formal situations.It also has a certain elegant, sophisticated feel to it.

It also does not change over time, and is used by him both at 24-26 and at 34-35 years old.

私が異議をとなえれば、裁判長は かならず聞き入れるだろう、と。

Watashi ga igi o tonaereba, saiban-chō wa kanarazu kikiirerudarou, to.

If I raised an objection, the judge would certainly listen.

___________________________________________

私が検事の職をまっとうできるのも、 周りの誰かの支えがあってこそ。

Watashi ga kenji no shoku o mattō dekiru no mo, mawari no dareka no sasae ga atte koso.

It is only thanks to the support of those around me that I am able to carry out my duties as a prosecutor.

___________________________________________

礼を言うのは････ 私のほうだ、成歩堂。

rei o iu no wa watashi no hōda, Naruhodō.

I should be the one to thank you, Naruhodo.

___________________________________________

But he has a special attitude towards the informal address "you". And by the way, it depends on the situation Mitsurugi is in, and not on who he is addressing.

Because he uses at least 4 (maybe more, I couldn't catch them all) options of address!

The first is "omae". We have already discussed it, so I will not repeat myself. But the situation in which it is used is when Mitsurugi tries to be cheeky, when he makes fun of others (most often, of course, Naruhodō)

お前のせいだぞ。成歩堂。

Omae no seida zo. Naruhodō.

It's your fault, Naruhodō.

___________________________________________

異国でも証拠品のつきつけとは、

お前も相変わらずだな。

Ikoku demo shōko-hin no tsukitsuke to wa, omae mo aikawarazuda na.

You're still the same, presenting evidence even in a foreign country.

___________________________________________

Next, the address "kimi".

君 (きみ/キミ)

君 (kimi) is a second-person pronoun with various nuances. Some dictionaries define 君 as a pronoun you can use in a friendly way towards someone of equal or lower status. These days, however, the way 君 is perceived varies quite a bit from person to person.

Outside of hierarchical situations like the workplace, 君 is used a lot to sound literary or poetic.

成歩堂。折り入って キミに頼みたいことがある。

Naruhodō. Oriitte kimi ni tanomitai koto ga aru.

Naruhodō. There's something I'd like to ask you.

___________________________________________

キミのいない法曹界は 平和そのものだったよ。

Kimi no inai hōsōkai wa heiwa sonomonodatta yo.

The legal profession would be at peace without you.

___________________________________________

いや。････････だが、結局 キミの力にはなれなかった。

Īya. Daga, kekkyoku kimi no chikara ni hanarenakatta.

No... But in the end, I couldn't be of any help to you.

In the example, Mitsurugi asks Naruhodō for help, so I don't think it's a hierarchy thing. It's more of an equal thing. (Correct me if I'm wrong)

___________________________________________

And then comes the most epic part. Kisama.

貴様 (きさま/キサマ)

貴様 (kisama) is a second-person pronoun that's masculine and rough, it's often in combination with vulgar language!

Although it's associated with masculinity, that doesn't mean it's a pronoun only for men. Even if you don't use 貴様 regularly, it's a great way of expressing your anger.

貴様 can also be a way to show affection in a very casual way towards close friends, partners, and family. In this case, the above example would be playful, rather than showing genuine anger.

Mitsurugi uses it when he gets angry (usually in the courtroom) and sometimes in relation to friends. So, the area of ​​application is justified by its purpose as a pronoun.

キサマの娘が、人を小さなハコに 詰め込むというショーをな!

Kisama no musume ga, hito o ch��sana Hako ni tsumekomu to iu shō o na!

Your daughter puts people into tiny boxes in a show!

___________________________________________

き、キサマなどに、美的感覚を 非難されるイワレはない!

kisama nado ni, biteki kankaku o hinan sa reru iware wanai!

You have no right to criticize aesthetic sense!

And the last one - addressing by name + suffix or without suffix (Mayoi-kun, Naruhodō)

___________________________________________

Next - Odoroki Hosuke (Apollo Justice)

He's a real manly man, haha. He always uses the pronoun "ore".

俺 (おれ/オレ)

俺 (ore) is a first-person pronoun with a strong masculine feel. It sounds "manly" and less gentle than 僕. 俺 is also a pretty casual pronoun and can be seen as vulgar, especially when used in formal situations. In order to use 俺 naturally, the speech style also needs to match the manliness of 俺.

オレは、ここの事務所の 所長さんに会いに来たんだよ。

ore wa, koko no jimusho no shochō-san ni ai ni kita nda yo.

I came here to see the director of this office.

___________________________________________

オレも、ちょっとならできるよ。

A odoroki ore mo, chottonara dekiru yo.

I can do it a little bit magic too.

___________________________________________

But he doesn't bother with addressing others, and always addresses them by name + suffix (Naruhodo-san, Minuki-chan, Garyu-kenji, Mitsurugi-kenji)

成歩堂さんが 弁護士をやめたのって････

Naruhodō-san ga bengoshi o yameta notte

Naruhodō-san quit being a lawyer...

___________________________________________

(みぬきちゃん。 片付け始めたぞ････)

(Minuki-chan. Katadzuke hajimeta zo)

(Minuki-chan, you're starting to clean up...)

___________________________________________

P.S.

I hope this will clarify the characters a bit and give you a new perspective on them.

One day, I'll do the same with the main female characters (because it takes a lot of time, but I bless those who post screen recordings and screenshots, thanks to them I can quickly find the right moment).

There may be errors and typos, don't be afraid to point them out to me

[yamayuandadu]

Hello! I saw your discussion about Inanna on Twitter and got a bit confused. You said that the tutelary goddesses of Uruk, Zanbalam, and Akkad were all "Ishtar" and "Inanna," with the only difference being on a cultic level. But then you proceed to say, "never such a situation as 'there's one goddess named Inanna and one named Ishtar.'" Did you mean that Ishtar and Inanna are practically the same? As a bonus question, who is the deity in the image you posted on Twitter?

I’ll start with the bonus question, since it’s something new, while the rest will pretty constitute reiterating what I already said many times.

Admittedly, I was a bit confused at first, because the last image I remembered posting on twitter was this:

That’s not a deity, it’s a plushie (officially "Ouioui series Y Pathetic Suctipoda") made by the company Itemlabel; they come in blindboxes with between 5 and 12 designs in a series. This specific one is sold out already, though.

Then I remembered I used a crop of the quite unique plaque from the temple of Sin in Tutub as a reaction image at some point:

I’m going to assume that’s what was meant. 

In the 1970s it was in vogue to try to link this remarkable work of art with the usual repertoire of entry level monster combat myths, without any real regard for spatial and temporal distribution of these motifs, but that never really caught on and it’s thankfully no longer a thing. As far as I am aware, today there are two proposals regarding this scene which are worth considering. The first is that it shows the defeat of Enmesharra (Wilfred G. Lambert, Babylonian Creation Myths, p. 288). The logic is fairly straightforward: the one-eyed entity has an eerie sun-like head, which according to Lambert offers an interesting parallel to Enmesharra’s epithet zimu, “splendour”, and the fact in a late account of his defeat it is reassigned to Shamash. He speculated scenes where gods with rays coming out of their body are defeated might be related, and offers an interesting insight that perhaps Enmesharra came to be regarded as luminous in some way due to accidental similarity between his name and Inanna’s arguably most famous epithet, Ninmesharra (which is basically the feminine version of the same name; note that there’s also an unrelated god list exclusive Ninmesharra who is an artificial exercise in inventing a wife for Enmesharra to match Enlil’s en-nin pair ancestors). I think Lambert’s arguments are quite compelling and they basically formed the core premise of the non-gay parts of my Inanna story. However, the one-eyed entity has yet another proposed identity which might fit even better. Andrew R. George in Nergal and the Babylonian cyclops points out that textual sources might indicate that a cyclops might really just be a cyclops. While infrequent, references to a mythical creature named igidalu (probably a loanword from Summerian igi dili - in other words, “one eye”, “monoculus”) are known from various sites, including an omen indicating Nergal was known as a vanquisher of such a specimen. It’s worth noting the birth of one-eyed animals was associated with Nergal too, which strengthens the possibility that we’re dealing with a well known myth which simply didn’t survive in written form. The only thing George doesn’t address are the rays, but it’s not like the “monoculus” necessarily had to look fully human-like.  With the interesting stuff out of the way, let’s go back to your initial question. A solid chunk of it is already covered by the previous ask response, so I will only cover some misunderstandings you seem to have under the cut. Plase read previous ask responses and check the recommended reading doc in the future though because I'm kind of tired of repeating the same basic points every few weeks.

To begin with, cultic information is the most significant and should not be dismissed the way you seem to do. Most myths were just scribal exercises, offering lists and various displays of personal devotion are what reflects actual religious activity.

Inanna and Ishtar are names. “Umbrella terms” as Tonia Sharlach put it (and that’s without going into the existence of ordinary nouns ištar and ištartu). There was no singular Ishtar and no singular Inanna, there were numerous deities who could be referred to with both of these names. There is basically no sound way to have one “character” named Inanna and one named Ishtar; either stick to having just one - a type specimen of sorts representing a whole category - or go into more detail and include like 5-6. Megaten took the dumbest route and I’m frankly not interested in talking about it anymore. An early example, what I brought up on twitter, is that the tutelary goddesses of Uruk, Zabalam and Akkad (the city) were pretty clearly separate from each other. Separate hymns are dedicated to each of the three in the Temple Hymn collection, for instance. Each of the three had a separate repertoire of names. These repertoires partially overlap, most notably the names Inanna and Ishtar were applied to all three of them (and to a plethora of other deities) but we’re fundamentally dealing with related, but still separate, deities.

It is safe to say I. of Akkad was an Ishtar before I. of Uruk and I. of Zabalam were, but she was hardly the only goddess named Ishtar (indeed, you’ll find specimens as far west as Ebla). There’s a recurring argument that she was, for political reasons, conflated with Inanna of Uruk during the Sargonic period and this lead to the interchangeable use of the names Inanna and Ishtar later to refer to various deities; this is not impossible though it’s worth noting that a lexical list from Ebla, which is pre-Sargonic, already recognizes the equivalence between the names Ishtar (“Ašdar” if you want to go by Eblaite orthography) and Inanna. Also, it’s worth noting that it’s sort of questionable to speak of fully separate “Sumerian” and “Akkadian” pantheons - putting aside the fact each city-state would have its own pantheon, the lines don’t neatly correspond to languages, ex. the names Sin and Nanna probably started to be used interchangeably before writing was even invented - and despite being nominally Akkadian, the former was the one preferred in Lagash, arguably one of the parts of Mesopotamia with the highest % of Sumerian speakers.

Regardless of how the names came to be interchangeable, there’s no clear evidence for the goddess of Akkad NOT being considered separate despite sharing some of her names wirh others. If anything, with time she only became more distinct, with the epithet Annunitum becoming her primary name (and she also got a “twin” who splintered off from her, Ulmashitum, named after her temple). The case of Zabalam is even more complicated. Technically, it is possible the tutelary goddess of Zabalam was not originally named Inanna, but rather Nin-UM (reading of the second sign is uncertain). That’s how she is referred to in the Zame Hymns from the Early Dynastic period; there’s some disagreement whether we’re dealing with a case of an attempt to “Inannize” an originally completely unrelated goddess or if some sort of splintering happened (in which case the name Nin-UM would be secondary). In any case, she is also pretty clearly a distinct deity. The Weidner god list keeps her apart from the “regular” Inanna. Furthermore, while the circles of deities associated with both overlap (ex. Ninshubur and Nanaya occur in sources from both Uruk and Zabalam), the connection with Shara is effectively exclusive to Inanna of Zabalam (save for the awkward inclusion in Inanna’s Descent)

While myths might skip this sort of distinction, it’s worth noting that’s not 100% guaranteed. For example, there’s a proposal that the hostility between Inanna and Gilgamesh, which is a motif originating in Gilgamesh and the Bull of Heaven (which predates the singular epic by a couple of centuries), might indicate that implicitly Inanna of Akkad or Zabalam was meant instead of Inanna of Uruk (Douglas Frayne, The Struggle for Hegemony in “Early Dynastic II” Sumer, pages 63-64).

[kon-igi]

SOPRACCIGLIA E BARBA ROSSA

Questa è una storia su di me... a tratti noiosa e/o delirante, autocelebrativa e antipatica per taluni, commovente e sincera per altri.

Nel video che si trova fissato in alto nel mio tumblr, invito chi mi conosce da poco (oppure da molto ma superficialmente) a non confondere persona, personaggio e professionista.

Intendiamoci, non esistono tre Kon-igi schizoidi che in ogni momento non sai con quale interagisci ma di sicuro in questi spazi è molto facile che un muro scrostato e vecchio io ve lo intonachi con stucco veneziano e magari ci allestisca pure una mostra di arte contemporanea con giochi di luci meravigliose... ma comunque rimane un muro vecchio e scrostato, sull'imbellimento fantasioso del quale non ho mai mentito o promesso comodati d'uso a contratto capestro.

Mi piace citare cultura pop, video cringe, videogiochi, giochi di ruolo oppure anime e manga che abbiamo visto o letto in tre...

Ma sono nato nel 1972 e quindi sono mediamente vecchio, anche se non di merda (spero).

Nonostante tutto, difficilmente mi vedrete interagire con persone della mia età che non siano quei quattro famigerati gatti qua su tumblr, che per fortuna hanno resistito dal diventare quei vecchi di merda di cui è popolato il mondo reale e con cui faccio una miserabile fatica anche solo a prendeci assieme un caffè alla macchinetta a base di calcio&figa.

Mi autoelogio nel definirmi uno invecchiato bene... perlomeno nella testa e nel cuore (il corpo vabbe').

Ho imparato a frenare il mio paternalismo, il mio man(kind)splaining e la mia sindrome del salvatore, tenendo a bada anche una certa impiccionaggine nel voler sapere le cose degli altri per condividere ed essere d'aiuto.

Ma come state giusto ora sperimentando, perdo il prezioso dono della sintesi quando devo parlare di cose radicate ben dietro il personaggio, nella parte più profonda della mia persona.

In un post di qualche mese fa, quello in cui raccontavo in tono scherzoso del ricovero di Figlia Piccola, ho preso in prestito da uno dei miei anime preferiti (Le Bizzarre Avventure di Jojo) il concetto di STAND - una sorta di potente proiezione delle nostre energie psichiche dotata di poteri particolari - e l'ho usato come allegoria della sua enorme forza d'animo nel non farsi piegare dal dolore, fisico e psichico.

Continuiamo questo sciocco gioco metaforico e fate cortesemente finta di rimanere stupiti e sconvolti positivamente dalla descrizione del mio Stand e dei suoi poteri...

HEART ON JOHN

Se non lo sapevate ora ve lo dico, la pronuncia in giapponese è molto simile a quella del nome del famosissimo cantante e pianista inglese, a cui ho sottratto il titolo di una delle sue canzoni più famose per definire il suo attacco speciale

ROCKET MAN

Ma prima di dirvi quali sono le caratteristiche di Rocket Man, mi preme spiegarvi il titolo del post, frutto del mio citazionismo colto (ma manco per il cazzo).

Nella mitica serie 'Scrubs', a un certo punto JD si mette assieme a una collega psichiatra e la sua amica e collega Elliot, una bomba a mano emotiva, si mette di mezzo e bulleggia questa dottoressa, affermando che questa può dirle qualsiasi cosa che tanto lei è una donna equilibrata e forte... la camera inquadra la psichiatra che sorride e sussurra a Elliot 'SOPRACCIGLIA', con JD che controbatte 'Ma cosa c'è di male nella parola sopracc...' se non che la camera ritorna un attimo dopo su Elliot singhiozzante e disperata col mascara colato.

Barbarossa, invece, si riferisce a una delle scene per me più toccanti della serie 'Sherlock', quando il protagonista viene ferito quasi a morte da una certa persona (no spoiler per chi si fosse appena svegliato da un coma di 13 anni) e nel suo palazzo mentale rivive episodi del suo passato per cercare di trovare un modo per salvarsi, tra cui l'incontro col suo setter Barbarossa, l'unico essere vivente con cui da bambino abbia mai interagito con amore.

Ecco cosa fa Rocket Man.

Di chiunque entri nel suo raggio d'azione io posso vedere sia le sopracciglia che la barba rossa.

Di chiunque.

Di tutti.

Venite pure avanti con la vostra faccia di cazzo, con le vostre pretenziose idee di merda, con le vostre lamentele autocentriche di persone sfortunate o di individui speciali a cui tutto è dovuto, la cui unica dote è sparare cazzate con un potentissimo filtro instagram che sembra quasi riuscire a cancellare la stupida vacuità.

Il primo pugno manda in frantumi la vostra scintillante armatura di fasulla perfezione, il secondo vi riporta indietro all'ultima persona che vi ha detto di no, il terzo a quando anni prima il mondo vi sembrava pieno di promesse e luce e così via finché davanti a me non ho il bambino piangente a cui è stato negato un gesto di amore.

E quando l'ultimo pugno sembra poter cancellare ogni cosa, io invece vi abbraccio fortissimo e vi riporto indietro al presente, in mezzo ai frammenti di ciò che non volevate essere ma che siete stati costretti a diventare per non sentire il dolore.

Vi piace il potere del mio Stand?

Non l'ho scelto io e nella vita reale ovviamente non ci sono pugni, solo la mia consapevolezza di tutte le vostre sopracciglia e la mia scelta di voler arrivare fino a Barbarossa, accanto al quale giace in solitudine il bambino piangente che era stato felice quell'ultima volta.

Magari non vi sembrerà ma io a quel vostro bambino ci arrivo sempre.

E se suona come una promessa infatti lo è.

[willcodehtmlforfood]

muanyag ragasztas

altalaban a muanyagok nem szeretik a ragasztot, jobb “osszeolvasztani” oket (akar egy oldoszerrel, akar pl egy forrastopakaval)

van az a helyzet, amikor ez nem megoldas (pl nagyon draga a muanyag oldoszere), na erre kering olyan megoldas ami szodabikarbonat hasznal pillanatragasztoval

ennek egy tovabbfejlesztett valtozata, ha grafitport hasznalsz - pl ezt https://www.amazon.co.uk/gp/product/B00BTOBHH6/ (eredetileg zar “olajozashoz” van)

eltort nalunk a zuhanyrozsa tarto bilincse (ovalis a cso, ha csere akkor kb £50 penz lett volna, mert ilyenbol nincs uj, es a felfogatasi pontok olyan messze vannak, hogy csak a dragabbak adjak ki; az utangyartott zuhanyfej-tarto kinai gagyi; uj felfogatasi pontokat csempebe nem akartunk furni):

(ez tipikusan az a fenyes muanyag, amihez nem tapad semmilyen ragaszto hosszu tavon)

- kell egy olyan ragaszto kombinacio, amiben van “adhesion promoter’ vagy “activator” (pl https://www.amazon.co.uk/gp/product/B002SPBX9W - sajnos a ragaszto elobb fog beszaradni, mint h az activator elfogy, barmilyen masik pill.ragaszto megfelel ha az activator meg jo (ez egy kemyeny filctoll jellegu cucc amugy))

- ha van alkohol, zsirtalanitsd a feluletet, szaradas utan kend be az activatorral (amennyire lehet)

- ragasz ossze a torott reszt pill.ragasztoval, varj amig szarad (5-10 perc? amikor mar nem ragadsz hozza)

- (mivel ez igy onmagaban nem lesz eleg eros) szorj grafitot oda ahol meg akarod erositeni (egyszerre csak egyik oldalra), majd ajd neki egy kis pill.ragasztot

(a fstift az csak ideiglenes rogziteshez van - a feher muanyag ki-be jar a fogantyubol, de persze teljesen kivenni nem lehet....; itt az is latszik h mennyire szanaszet megy a finom grafitpor)

- repeat amig ugy erzed h eleg vastag az extra resz

- szukseg eseten (szaradas utan) reszelovel javithato ha tul sok lett a cucc

voila, mar csak ossze kell rakni

ugyanez a megoldas pl automuanyagok pockeinek javitasara - mondjuk nem art ha megvan a letort darab, de ezzel a modszerrel anyaghianyossagot is lehet potolni:

[isshusgotissues]

more teal mask stuff

[f-l-r-n]

hey look its ash and goh, but something doesn’t seem right...

must be something in the air

[likehandlingroses]

i love what you said about giving thomas a stake in the story about change, which is obviously the core story of downton abbey... in the show i think one of the things that's so awful to watch yet compelling about his story line is that it gets a lot of things right about how homophobia operated at that time, i think of that horrible fucking moment in s6 where Carson smugly says "your role is unnecessary," ostensibly in reference to the underbutler role, but obviously Not in reference to it, yk. and that view of being gay as like a dead end, not needed to carry on society, it was a very real attitude at the time. but i think his storyline sometimes gets so bogged down in that, its like the metanarrative of the show seems to believe it (?). when the films reorient the approach to his character and show how his story is really at the core of this incredible social change of the 20th century. idk very special to me! (and ofc the downton abbey films are not great masterpieces of subtle art igi but still <3333)

Yes, that's all how I feel as well! And a lot of Thomas's character is designed to be a reaction to homophobia of the time; he's meant to be unpleasant and out for himself because of how he's been treated, and that was something Fellowes wanted to show. Which I think has value!

But it gets so, like you said, bogged down in that. It spends so much time building up that piece and slowly revealing the dimensions of it that it neglects to give Thomas almost anything else. And the longer that goes on, the more it feels like the show believes Thomas really cannot be happy.

In actuality, driving Thomas over and over again to the brink until everyone gets that he has feelings was probably not the best way to reveal Thomas's complexity to us. The films have taken another approach, which is to actually put Thomas in contexts where he does not have to be defensive, where he can talk about himself honestly, where he can express desire openly. And we see him in a different light just because of those things! I think had they put some time into that approach earlier, they'd have found there was less appetite to see Thomas suffer so tremendously before "earning" his happiness.

[satanclark]

Artfight attacks so far 😼😼

(Click for better quality and to see full images)

In order:

Akane Vixen owned by Ralphie_Caredig

Raine Elm owner by @panda-personn

Alistair + Boo owned by Kaiyoato

Enigmaat (Igi/Eni) owned by @miladymalady16

Links to character pages below cut!

Akane:

Raine:

Alistair:

Igi:

[swapnilsaundarya]

Trailblazer In Hindi Fashion |

About Swapnil Shukla | Swapnil, a dynamic jewellery designer, IGI certified Polished Diamond Grader, and pioneering Jewellery Journalist, educates readers on intricate topics in Hindi. With double M.A degrees and a knack for export management, she freelances as a designer, runs the popular blog 'Swapnil Saundarya', and founded 'Swapnil Saundarya Label' focusing on art, sustainability, and livelihood programs. Featured as a 'Trailblazer in Hindi Fashion' on 'POWER CODE', her 'Swapnil Saundarya Chemo Dolls' gained media acclaim. Appointed 'MIVDO Goodwill Ambassador' for 2020-21, Swapnil continues to innovate in the design and art industry.

[lamplighterr]

if you ever thought i was over this dude you were WRONG

(listen 2 Lonely Hearts Club by MARINA and think about him)

Blog is @intergalactic-idiots