#incredibly sad times

[carnivorouswillgraham]

for the briefest of moments i lived in a world where dan was going to wear a soft kneelength plaid skirt for white girl fall

[egophiliac]

buckle up lads we're going BACK INTO THE BOOK

[wardingshout]

Zelda goes mushroom girl

[toughbunnyforever]

trying out human things. its boring

[ionomycin]

mermay

[anistarrose]

to me, the most fascinating (and utterly unintentional) feature of TAZ Balance's narrative structure is the way that on the first listen, Tres Horny Boys are the audience surrogates because they, much like us, have no idea what the fuck is going on, but on all subsequent relistens, then Lucretia, and sometimes Barry, and arguably especially Lup in the umbrella become the new audience stand-ins, because just like us, they are, in fact, painfully aware of what the fuck is going on :)

[sad-leon]

i can't believe it's pride month and I haven't drawn Doe

[napping-sapphic]

I just want to fall in love with someone who makes me feel safe like even when we’re angry or sad or upset i just want to know that both of us are still going to be okay

[yrsonpurpose]

You are not who I raised. Oh, that is all I am, mother.

[lilyimmsim]

the crows would have absolutely loved monopoly

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[mervynbunter]

TIME BANDITS (1981), dir. Terry Gilliam

I just love the idea of taking guys that are small and treating them like heroes, treating them like Alan Ladd, almost as tall as Alan Ladd, I think he was about three inches taller than those guys. That’s what the joy of doing it was and giving these guys a chance to get out of their fucking Womble costumes and R2-D2 tin cans and be people. And they all rose to the occasion, they were all brilliant. —Terry Gilliam

[reinapepiada]

there's a bit more to the thought process that led to this than i'm willing to share here. it's like an AU but for one joke only

[she-posts-nerdy-stuff]

Sometimes I think I’m not that weird and then I spend a solid amount of time wondering what kind of contraceptives are available in the Grishaverse and specifically how accessible they are in the Barrel, particularly based on the quote “Getting pregnant isn’t actually a special talent. Ask any luckless girl in the Barrel”. Is unwanted pregnancy more common in the Barrel than elsewhere in Ketterdam because of the lack of social services in the city and especially in its poorest areas? is it because teen pregnancies often lead to kids being kicked out so they end up in the Barrel? is there a higher statistic by product of the pleasure houses and especially if there aren’t safe contraceptives readily available in the pleasure houses? and if so what do the people running the pleasure houses do to the girls because of it? is it because unexpected pregnancies in higher social classes would just lead to rushed marriages so it’s more noticeable in the Barrel? or is the comment based solely on Kaz’s individual experience of the city, ie its slums, in which case whilst it’s telling us about the Barrel it’s not making any particular comparison to the rest of the city? I kind of assume there must be some contraceptives available because the possibility of pregnancies in the pleasure houses is never discussed but I doubt they’re readily available and based on what we know about the resources and development in the worldbuilding and timeline may not be the most reliable, in which case what is happening to indentured girls who end up impregnated? Because, somehow, I just don’t think they’re safe. (Where could I have possibly gotten that idea?) So yeah, I am, in fact, that weird. But I really need to know the answer to this.

[turtleblogatlast]

Something I really like is that April’s constant stream of odd jobs she goes through is somewhat reflected in the boys as well. Like, you have April working at random pizza places or getting a crane license or being fully willing to apply for a job at a place clearly made out of cardboard. Then you have the boys as well who do anything from working as a basketball mascot, building a massive dog park, being waiters, getting a whole band gig at a theme park, etc, etc-

Main difference is that April actively applies for these jobs (and is hopefully paid for the short time she’s in them) whereas for the bros the jobs usually find them (and they practically never get paid.) It doesn’t even stop at jobs either, they just seem to casually amass skills in general.

I don’t know, I like how both April and the turtles are just so ready and willing to do things. Sure, they’re not always good at these things, but they do them readily! In a way, being heroes is just another job (well, more like volunteer work/vigilantism/another fun activity) that they initially took on because of their general sense of “why not?”

They’re very willing and open to trying out new things despite their tendency to revert back to what they enjoy (and how commonly trying new things ends up going wrong), and I think that adaptational interest of theirs really helps them be well rounded in multiple regards.

[poorly-drawn-mdzs]

My rendition of @tempo-takoyaki's DTIYS!

Congrats on the milestones! And to everyone else, please go check out their 'Drawing TGCF (except I haven't read the books)' series!