#it cleared some shit up

[ruporas]

trigunned the hades or hadesed the trigun (id in alt)

[lucabyte]

Olive Branch

Wrong Move

[mellohiizz]

hi sketch dump again ^_^

[biggest-gaudiest-patronuses]

yall like to pretend that "don't split up" is the most obvious rule in any horror scenario, but what's the alternative? stick together and cooperate ? to find a solution? in a life-or-death situation??? babe surely you have been in enough group projects to guess how that shit ends

[sopranoentravesti]

Gonna make a controversial statement—people on this webbed site had more compassion for the poor white rural Trump supporters than they do for Jews

[thesmokinpossum]

If My Body Could Speak, Blythe Baird | The Godfather, Mario Puzo | My Father's House, Sylvia Fraser | To The Daughter Who Secretly Longs For Her Mother’s Affection, Lynne Shako | Storms from Jupiter, Wanda Deglane | DO NOT REPLY, @filmnoirsbian

[littleplantfreak]

Silly/Clumsy WB boys HCs

I see hcs like this and theyre always fun/make me laugh o(｀ω´ )o

Sakura’s food went down the wrong pipe at a restaurant and when the waiter asked if it was because it was too spicy, he insisted through coughing and tears that that definitely wasn’t the case (he could tell they didnt believe him though)

Tsugeura sometimes lets one rip by accident when he’s exercising. Not even a little fart either, the kind that stops everyone from what they’re doing.

One time Nirei stubbed his toe so hard, he fell and grabbed onto the nearest object. Unfortunately that was the back of Sakura’s pants, making him accidentally moon a few people in class.

Word recall is hard sometimes. So when Choji calls an ambulance a ‘hospital truck’ really what can you do? At least he’s using words. Sometimes he just mimes the shape or action of the thing and insists that you know what he’s talking about. Will draw a picture if he gets frustrated enough, but if it’s something intangible? Well it’s a guessing word game. (Togame is the best at it, but Inugami is on Choji’s wavelength enough that he’s pretty accurate too)

Hiragi calls the first years by the wrong name sometimes, like a mom with too many kids. He’ll yell and say Sugishita when he means Sakura, but he does apologize before yelling again.

Because he’s around older guys a lot, Togame sometime uses really old words or sayings. You haven’t hear the saying “It’s raining cats and dogs” or he’s “bleeding like a stuck pig” in years until you’re stuck under an awning during a passing storm or he comes back from a rough fight, nose still bleeding profusely. Also keeps bag balm/cetaphil, some other really good lotion for calluses and dry skin and just kinda slaps it on whatever shishitoren member he sees who’s hands are cracking, saying that the skin won’t heal as well when they’re older so they better take care of it now.

Umemiya’s got the worst habit of losing, dropping, or sitting on his glasses. He doesn’t realize it until he hears the snap and he’s got them taped up until he can go get them fixed again.

Kaji’s kind of a messy eater. Especially with ice cream or food with sauce on it. Started to get better with checking his face after eating after Hiragi slapped a wet wipe on his face after he devoured a rack of ribs, leaving him looking like he’d cannibalized someone

[that-willowtree]

i hate gay ppl im so glad theyre not real

[bananafire11]

1 How do these Caine transformations work, is it slow and painful, or is it a quick thing (Jax's for example) and how did he react to seeing himself like that?

2 Jax still does, even in that form, he still continues to be playful sometimes? And then there are also adventures for them to distract their minds?

Caine likes to take his time when it comes to 'designing' his circus cast. The process of transformation is slow and drawn out, as Caine rearranges and adds onto his newest creation. It's all trial and error.

(Using jax as an example here) caine will elongate, stretch, shrink, ect. as he goes along, one limb at a time. Ofc he can perform acts that wouldn't be possible in the real world as it's digital so he has some liberties.

For the first ask's second question; adventures are moreso 'field tests'. Caine throws his cast into a predicament to test their abilities and how they will overcome whatever he throws at them. This isn't as common as in canon, though

And for the second asks second question, Ragatha had been 'wretchified' before Jax arrived to the circus. Both she and Kaufmo tried to keep him hidden as long as possible, only prolonging his determined fate.

[fanaticallyfleeky]

I’ve seen multiple posts about the ibuprofen and Buck’s allergy to naproxen and people thinking they’ve connected the dots, but the thing is

an allergy to naproxen does not inherently mean an allergy or sensitivity to ibuprofen

yes, they’re both NSAIDs but they differ in chemical structures. Allergic reactions to NSAIDs typically occur because of a sensitivity to the drug’s specific structure, so a person may react to one NSAID but tolerate another.

in fact, if someone has a known sensitivity to naproxen, doctors may recommend using a different NSAID like ibuprofen

Tldr: Tommy giving Buck ibuprofen makes perfect sense

[nicorobinphd]

every time a writer has batman refer to his children & mentees as his “soldiers” i get a step closer to sending frank miller an envelope full of anthrax.

new writers read pre-crisis (or even just like any pre-1990 writer other than marv “my self insert fucked a teenager” wolfman) comics challenge.

[teganorsara]

Ali Ahn as Eidra Park and Ato Essandoh as Stuart Heyford in

THE DIPLOMAT 1.06

[robotsafari]

i had a dream where something was off with riku’s shadow…

(this art is so sucks i made this when i was tired and less experienced which ended up making riku look so much skinnier than how i normally draw him post-kh2 can you stop engaging it with pretty pweeease)

[necrotic-nephilim]

ok ok but jayroytim😏

this feels especially funny if brudick happens in the background and oliver hates the fact he's now in-laws with bruce

so i have to regretfully admit i'm not really a fan of JayRoy, or at least i'm not a fan of the popular version of JayRoy. i think JayRoy could work and would be a lot of fun! but i have *zero* interest in New-52!JayRoy (or New-52!Roy in general) or rlly any version of Jason and Roy on the Outlaws together. both bc i'm a pre-Flashpoint stan at heart. usually i can stand newer content for ship fodder but for these two oh man it grinds my gears how badly Roy got fucked over-

BUT BUT. that doesn't mean i think the ship has *no* merit. because Jason and Roy *do* have some fodder in pre-Flashpoint. they meet briefly when Jason is Robin, and then again when Jason is Red Hood during that Outsiders arc where Black Lightning is in prison. so! there's definitely material to work with. especially playing into the more fucked up nature of Roy knowing Jason when he was Robin. i think it's cute if Jason had a childhood crush on Roy. and maybe Roy even thought Jason was kind of cute, a spunky kid with a lot of energy and passion. then with Jason as Red Hood, Roy openly doesn't trust him and doesn't like that they're working with him. Jason is just a run-of-the-mill villain with a nasty kill count. and sure, Roy's got a record of tangling with people more on the villain side of things, but even going near the Red Hood feels like a step too far.

adding Tim to the mix is really fun. bc honestly it gives Roy some kind of a fetish for guys who have been Robin and i find that to be delightful. like, even if Roy just sees Jason as the Red Hood, he can't *quite* let go of the image of Jason as Robin. like it just won't get out of Roy's system ever since Jason came back. i think, if i were to write these three together, i'd have Roy and Tim get together first of all people, just because Roy is trying really hard to stop thinking about Jason as Robin, especially now that Jason is older and a little meaner. he's full of guilt about it, and he can't talk to Dick because he's still not sure where Dick's feelings fall about the whole Jason thing so. he goes to Tim instead, thinking if he fucks a different Robin, maybe he'll get it out of his system. Tim's pretty and he's just old enough that it's not *too* morally questionable for Roy to seek him out. it takes a while for Roy to work up the nerves because he and Tim aren't particularly close, so how do you even approach that conversation to make it look organic. it's awkward and Tim can definitely tell something is up but hey, who's going to say no to Roy Harper offering sex? one of Dick's best friends? especially if we put this right after Kon and Bart's death where Tim is just. sort of lonely and seeking companionship. in some ways,, Roy would remind him of Kon, just a little. that sort of cocky attitude and snarky smile.

i would add Jason in by having JayTim happen alongside RoyTim. it's not like Roy and Tim are serious enough to be exclusive and Tim knows Roy is sleeping around, so Tim ends up in a weird hatefucking situation with Jason, which definitely was not supposed to happen. Jason just has a damning way of getting under Tim's skin and won't stop bothering Tim until he gets some kind of attention from Tim. and somehow Jason is interesting enough for Tim to cave. and he doesn't even think about the two relationships he's balancing until he happens to sleep with Jason after being with Roy the night before and there are still marks all over him and Jason does *not* like sharing. so when he interrogates Tim and gets nothing, he does the reasonable thing of stalking Tim to figure out who it is. and it just happens to be the guy Jason had a crush on as a kid.

i think Roy finding out he tried so hard to avoid Jason that he accidentally ended up with the same fuck buddy as Jason would be the funniest thing in the world. like it's not something he can run from anymore and he has to accept that. he tries to awkwardly ask what Tim even sees in the guy bc well, Jason's a killer and not known for being mentally stable. but he's also the guy who exonerated Black Lightning with no real motive besides just helping out. he's complicated and Roy doesn't know how to react. Tim just sort of shrugs bc how do you even explain Jason Todd and well, one thing leads to another and Tim ends up in the middle of the most emotionally charged threesome he's ever been in. love the idea of Jason and Roy using Tim as a toy while they work out their feelings for each other. to me that's the peak dynamic. Jason and Roy are pissed about liking each other and somehow, Tim got roped into things. their relationship is not healthy or normal whatsoever, but somehow, they end up balancing each other out nicely.

background BruDick is also hilarious tho. bc there is no one who hates Bruce more than Oliver and he'd be so annoyed that not only did Roy get tangled up with the Bats, but now everything is so weird their families are pretty tangled together and Oliver has to deal with Bruce a lot more than he wants to. and he's glaring daggers about it the whole time.

[autisticaradiamegido]

thoughts on dave and aradia (<>)?

day 356

BIG fan tbh. in this house we love and respect timerails

truly yall read this log and tell me theyre not cute

[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.