#its just there have been so many things that happened every year

[fozmeadows]

there is no ethical consumption under capitalism

Years ago now, I remember seeing the rape prevention advice so frequently given to young women - things like dressing sensibly, not going out late, never being alone, always watching your drink - reframed as meaning, essentially, "make sure he rapes the other girl." This struck a powerful chord with me, because it cuts right to the heart of the matter: that telling someone how to lower their own chances of victimhood doesn't stop perpetrators from existing. Instead, it treats the existence of perpetrators as a foregone conclusion, such that the only thing anyone can do is try, by their own actions, to be a less appealing or more difficult victim.

And the thing is, ever since the assassination of United Healthcare CEO Brian Thompson, I've kept on thinking about how, in this day and age, CEOs of big companies often have an equal or greater impact on the day to day lives of regular people than our elected officials, and yet we have almost no legal way to redress any grievances against them - even when their actions, as in the case of Thompson's stewardship of UHC, arguably see them perpetrating manslaughter at scale through tactics like claims denial. That this is a real, recurring thing that happens makes the American healthcare insurance industry a particularly pernicious example, but it's far from being the only one. Because the original premise of the free market - the idea that we effectively "vote" for or against businesses with our dollars, thereby causing them to sink or swim on their individual merits - is utterly broken, and has been for decades, assuming it was ever true at all. In this age of megacorporations and global supply chains, the vast majority of people are dependent on corporations for necessities such as gas, electricity, internet access, water, food, housing and medical care, which means the consumer base is, to all intents and purposes, a captive market. We might not have to buy a specific brand, but we have to buy a brand, and as businesses are constantly competing with one another to bring in profits, not just for the company and its workers, but for C-suites and shareholders - profits that increasingly come at the expense of workers and consumers alike - the greediest, most inhumane corporations set the financial yardstick against which all others are then, of necessity, measured. Which means that, while businesses are not obliged to be greedy and inhumane in order to exist, overwhelmingly, they become greedy and humane in order to compete, because capitalism encourages it, and because there are precious few legal restrictions to stop them from doing so. At the same time, a handful of megacorporations own so many market-dominating brands that, without both significant personal wealth and the time and resources to find viable alternatives, it's all but impossible to avoid them, while the ubiquity of the global supply chain means that, even if you can keep track of which company owns which brand, it's much, much harder to establish which suppliers provide the components that are used in the products bearing their labels. Consider, for instance, how many mainstream American brands are functionally run on sweatshop labour in other parts of the world: places where these big corporations have outsourced their workforce to skirt the already minimal labour and wage protections they'd be obliged to adhere to in the US, all to produce (say) electronics whose elevated sticker price passes a profit on to the company, but without resulting in higher wages for either the sweatshop workers overseas or the American employees selling the products in branded US stores.

When basically every major electronics corporation is engaged in similar business practices, there is no "vote" our money can bring that causes the industry itself to be better regulated - and as wealthy, powerful lobbyists from these industries continue to pay exorbitant sums of money to politicians to keep government regulation at a minimum, even our actual votes can do little to effect any sort of change. But even in those rare instances where new regulations are passed, for multinational corporations, laws passed in one country overwhelmingly don't prevent them from acting abusively overseas, exploiting more desperate populations and cash-poor governments to the same greedy, inhumane ends. And where the ultimate legal penalty for proven transgressions is, more often than not, a fine - which is to say, a fee; which is to say, an amount which, while astronomical by the standards of regular people, still frequently costs the company less than the profits earned through their unethical practices, and which is paid from corporate coffers rather than the bank accounts of the CEOs who made the decisions - big corporations are, in essence, free to act as badly as they can afford to; which is to say, very. Contrary to the promise of the free market, therefore, we as consumers cannot meaningfully "vote" with our dollars in a way that causes "good" businesses to rise to the top, because everything is too interconnected. Our choices under global capitalism are meaningless, because there is no other system we can financially support that stands in opposition to it, and while there are still small businesses and companies who try to operate ethically, both their comparative smallness and their interdependent reliance on the global supply chain means that, even if we feel better about our choices, we're not exerting any meaningful pressure on the system we're trying to change. Which means that, under the free market, trying to be an ethical consumer is functionally equivalent to a young woman dressing modestly, not going out alone and minding her drink at parties in order to avoid being raped. We're not preventing corporate predation or sending a message to corporate predators: we're just making sure they screw other worker, the other consumer, the other guy.

All of which is to say: while I'd prefer not to live in a world where shooting someone dead in the street is considered a valid means of redressing grievances, what the murder of Brian Thompson has shown is that, if you provide no meaningful recourse for justice against abusive, exploitative members of the 1%, then violence done to those people will have the feel of justice, because it fills the void left by the lack of consequences for their actions. It's the same reason why people had little sympathy for the jackass OceanGate CEO who killed himself in his imploding sub, or anyone whose yacht has been attacked by orcas - it's just intensified here, because where the OceanGate CEO was felled by hubris and the yachts were random casualties, whoever killed Thomspon did so deliberately, because of what he did. It was direct action against a man whose policies very arguably constituted manslaughter at scale; a crime which ought to be a crime, but which has, to date, been permitted under the law. And if the law wouldn't stop him, can anyone be surprised that someone might act outside the law in retaliation - or that regular people would cheer for them when they did?

[blackmagecat]

Time to tell you all a horror story. My own personal nightmare I’ve been living with for almost 2 years now.

[TW for pregnancy/childbirth trauma, stillbirth and infant mortality]

The minute I started my baby registry on Amazon was the minute I signed my soul away to unending torture. I lost my daughter at 34 weeks of pregnancy due to little blood clots that formed in my placenta that apparently nobody had been able to detect (but that's a story for another time...) Anywho, the algorithms had already been in full swing by that point, recommending and advertising every baby product under the sun.

But here's the thing. Those ads don't go away just because your baby is dead. In fact, they stick around, and assume that your kid is still there, growing. These things are so targeted, they have been literally serving me ads based around the relative age of my assumed-to-be-living child.

Do you have any idea how fucked up it is to have to watch your non-existent child age and grow in daily, targeted ads? To watch actors pantomiming milestones you'll never get to experience? And for what? To sell me diapers I can't buy?

Worse still, I think the algorithms are finally catching on that something happened to my daughter. Lately I've been getting ads like this:

They don't know what happened exactly, but you'd best believe they're ready to sell me something once they figure it out! My husband has also been getting St. Jude's ads left and right also, where previously he had next to none. Now it's every third ad on each YouTube video he watches, and that's been going on for weeks.

I wish it were illegal. I wish there was something I could do beyond praying that the VPN or ad-blocker I'm using will shield me. I've reported ads as often as I could, but my reasons are rarely listed in the little dropdown menu. I always end up picking "Other."

I can only imagine how many others are out there going through the same. Is it too much to hope we can all get together and file a class action somewhere, somehow? It's one thing to come across a random billboard, or actual TV commercial. I'm responsible for my own reaction to that. But its another thing entirely to have companies stalking you and using your personal history and trauma as a persistent, blunt force tool to make you spend money.

Also I've said this before but advertising is an industry that should be considered as pointless and harmful as fossil fuels.

[d-emeter]

The world has gone to hell, but you've found your own paradise (or: apocalypse au with task force 141) — plus-size!fem!reader x poly!141

CW: zombie apocalypse (but no real zombies mentioned lol), allusion to smut but doesn't actually happen yet, soap being a horny bastard, implied age-gap?

HEAVILY based on the bill and frank storyline from the last of us but can be read as a generic zombie apocalypse so no worries if you haven't seen/played tlou! Also different format? Is this something?

Captain John Price who, over the years, has become a bit of a survivalist nut — a prepper, if you will.

Sure, his sergeants make fun of him for it sometimes, but he more than anyone knows the shit that plays behind the scenes, the things governments keep hidden, the threats that loom every damn day — so he'd rather be safe than sorry when the world inevitably goes to shit. He's almost smug about it when it does (he hadn't calculated in the zombie aspect of it all, but still)

Unfortunately for him, however, he and the rest of 141 are deployed when outbreak day comes around. More and more cities are bombed by the hour, the population dwindling by the second, and in the week that follows he and the boys are amongst those assigned to evacuate the smaller towns and villages and escort the citizens to quarantine zones — that is, until the QZ's are full and they're under direct order to execute those that didn't make it in.

Now, Price's moral compass has been skewed for some time now. He's done some stuff during his years serving — man or woman, guilty or innocent, it hadn't mattered to him then. It doesn't now, either.

What does him in is the tear that rolls down Soap's cheek when Price shoots the mother and child his sergeant couldn't bring himself to ("Aren't these the people we're 'posed tae protect, cap?")

He convinces his task force to desert that very night (they'd been hesitant, but in the end, they'd follow their captain to hell and back). They gather as many weapons, ammo and MRE's as they can get away with without being caught, and they're off into the night.

Price brings them to his home — a big, old house inherited from his grandparents somewhere in a small, sleepy village. He had spent the better part of his time on leave preparing the house to be self-sufficient should the need arise: generators on solar and wind power, water filters, a chicken coop and a garden set up in the backyard (that, and enough weapons to supply a small army in the garage)

They wait until this village gets evacuated, too, so they can claim it for themselves before raiders come around. They fence off a section of the town, set up traps and cameras, anything to ensure no unwanted visitors can enter, infected or not.

It's their own form of paradise, in a way. (the house has enough bedrooms to give them all their own — they end up in eachother's more often than not)

One day, you fall into their lives — literally. You've fallen into one of their traps, a literal hidden hole in the ground, and within a few minutes you hear the creak of a gate, multiple sets of feet and the unmistakable sound of a gun being loaded ("I'm not infected!" You yell from your hole before they can lay eyes on you, certain they'd shoot you on sight if you didn't)

The first thing you see is the barrel of the gun leering over the edge, before you see its owner — a man with a beard and the most intense eyes you've ever seen. He keeps his gun pointed at you while he makes you recite the alphabet, forwards then backwards, all with your hands held before you to ensure you weren't twitching. You pass his test, it seems, and a ladder is lowered into the hole.

Once you're back on the surface, you see it's not just the man with the beard — there's four of them in total, each looking more terrifying than the last, all muscle and bulk and having the ability to snap you like a twig should they feel the need. There are still guns pointed at you as you explain your situation and simultaneously beg for your life — you were with a group travelling to the nearest QZ, you're the only one left now ("Please, I didn't mean- Please don't hurt me, I'll be out of your hair before you know it — I won't tell anyone about this place! I haven't eaten in three days-")

John and Simon were hesitant at first, but their sergeants manage to convince them to let you inside, offer you some food before sending you on your way again (Soap had been frothing at the mouth a little the moment he had laid eyes on you — sure, they had kept eachother... satisfied, but "Cap, when's the last time any o' us felt the touch o' a lass? 'N such a pretty one at that..." and Price knows he can't deny them when Gaz leans over to whisper how prettily you had begged for your safety, surely it'd do no harm?)

Your eyes widen a little when the scary man with the beard tells you to come with them — your hunger ends up winning the battle with your brain as it tries to convince you that following four big male strangers into their fenced home is not a good plan.

You expected a dented can of beans and maybe a cup of water, so you're definitely more than a little surprised when they usher you into a bedroom with an ensuite, telling you to go take a shower (Soap wanted to follow you into the bathroom, mumbling something about wanting to double check for any bite marks. Ghost had to hold him back by his shirt)

You nearly cry when you feel the stream of hot water on your skin, and feel like you're in some sort of fever dream when you see the clean clothes laid out on the bed for you — granted, they're men's clothes, but anything is better than the rags you had on before.

You start to wonder if maybe you died and are in some sort of weird state between worlds when you come back downstairs to a table that's fully decked out and beautifully presented plates of food.

All of them turn to you immediately and you have to do your best not to falter under their stares (you don't notice the flustered little cough Price lets out at the sight of such a pretty creature in his shirt — god, maybe Johnny was right, it had been a while since he's had a woman, and such a young, plush one at that)

One of them — the one with the darker skin and the prettiest face you've seen in months — is the first to jump into action, hand on your lower back as he ushers you into a chair.

You're convinced you're dead when you bring the first bite to your lips — God, that's good. (Johnny nearly chokes on his food at the small moan you let out. Simon remains stoic, but damn him if he didn't feel a spark of heat in his gut at the sound)

The men start introducing themselves while you're shoveling food into your mouth. The man with the beard — John, you now know — explains that they're all ex-military. Through bites of food, you do your best to introduce yourself as well. You tell them your story, they tell you theirs (well, Johnny and Gaz do, mainly. The one called Simon still hasn't really said a word to you, and you can tell John is a little paranoid about sharing too much information with a stranger)

As the night progresses, there's a shift in the air. Kyle leans in a little too close while brushing a crumb away from your lip, and John lingers behind you a little too long as he refills your glass (you pretend not to notice the sound of his deep inhale as he leans over you).

John insists you don't have to help with the dishes, so you wander into the living room and are immediately intrigued by the piano standing there. Johnny joins you on the bench, thigh pressed against yours as you play with the keys. Simon — or 'Ghost', as you noticed the others called him sometimes — leans over you from behind, and your breathing nearly stops (Simon knows he's too close, but so what if he wants you to accidentally brush against his abdomen?)

Once it's all said and done, you try not to let your disappointment show as you prepare to leave. Much to your surprise, it's Simon that grunts something to you, speaking the first words he's said that night. ("Stay. F'r the night. 'S not safe out there.")

John keeps a heavy hand on your shoulder as he leads you back to the bedroom you were in earlier. It's his, he tells you, but he can stay with one of the others. ("Are you- Are you sure? I can take a couch, or-" "'M sure, love, good night's sleep 'll do you good. Give me a yell if y'need somethin', yeah?")

With that, he leaves you to it, shutting the door behind him. Fuck, that bed does look inviting, and you can almost hear your vertebrae begging for a soft mattress. As you get ready for bed, a thought enters your mind. It had... been a while.

Is what you're about to do a stupid decision? Maybe, but you figured if these men had wanted to hurt you they would've done it already, and you'd be lying if you said that all their touches and affection weren't having an effect on your panties.

You yell out their names from the room, and the four of them are there within a second, though they all falter at the door as they take in the sight before them — you're sitting in the bed, covers pulled up so the only thing visible are your bare shoulders and arms, and it's immediately clear what your intentions are.

Soap, once again, has to be held back by the scruff to prevent him from pouncing on you immediately. John, instead, is the first one to actually enter the room, sitting down on the bed and carefully bringing his hand to caress your cheek while asking if you're sure about this (he'd rather not admit the way he shuddered a bit when he made contact with the soft skin of your face)

Your answer is immediate, you've made up your mind — on one condition ("I'm not... a whore, or anything. I don't sleep with people for food or shelter or anything, just- if we're doing this... I'm staying. For a while.")

Simon nearly laughs at this — funny how you think they would have let you leave otherwise.

[bkgexe]

if all else fails, i was myself

bakugou x reader ✾ 4.6k

info! no smut sorry gang ✾ tw! trust issues that manifest as issues w physical intimacy/contact, dubcon in its vaguest definition (NOT bkg & reader) ✾ notes! ive been in perpetual writers block for months. is this trite idk. i miss my baby but anytime i write for him im like oops this is gonna be 60k words!!! so here is. a drabble lmao. also big lmao moment this is titled after count me out by kendrick lamar ldskfjdlkjf which was on repeat while writing so uh sorry mr. lamar abt the mha fanfic

katsuki has always known that part of him is wrong.

he’s never liked being touched. every kiss he’s experienced has made him tense as an elevator cable poised to snap. any attempt to go further than that has made him a little ill, made his gut feel like a stack of loose papers being torn to shreds, slow and loud.

it doesn’t help that he’s only ever had three kisses in his life: eijirou at a new year’s party (too many teeth), eijirou again at another new year’s party nearly a decade later (too much tongue), and then his fourth date with kyoka (when he tried to convince himself he just had to push through the discomfort to become normal).

things went further than that. it was a mistake. they both knew it right after it happened—kyoka first, and then katsuki after his head stopped pounding with what if i'm doing this wrong what if she's pitying me for fucking this up what if i don't know how to touch another person correctly what if i was supposed to learn at some point and i missed it how could i fucking miss it will it always be like this because i can't do this again i can't i don't—

“kat," she said after. she looked at him with something only a few degrees removed from pity, and poorly removed at that.

he attempted a halting non-apology. he attempted a real apology. failed at both.

"it's okay, you know," she said. "to not like it."

he scoffed even though he wasn’t entirely clear on what she meant by it, because there was so much he didn’t like. “i like it just fine.”

“if that was liking it, I’m honestly worried about your capacity for enjoying life in general.” it wasn’t a joke. her bluntness was something that'd made katsuki think he could push his boundaries with her. all of her thoughts were laid out plain for him to read, an open-source journal. “i'm just saying you don't have to like it. and you don’t have to force yourself to do things you don’t want to do. don't fuck yourself over for someone else's happiness.”

kyoka still texts him often, checks in, invites him to drinks with their friends. she’s kind. she’s normal. she doesn’t have this weird, shredded thing inside her that makes her balk at the idea of someone’s hand on her skin. that makes her think she's doing something wrong, even if she's not the one that initiated the touch.

when you started your job at the front desk of katsuki’s agency, he never thought that he'd be here, wishing above everything that he could just be normal. just for one fucking day, so he could laugh at your shitty jokes and maybe brush his knuckles across the back of your hand in passing and take you on a date where he could kiss you in his car after driving you home and the thought wouldn’t make his skin crawl, wouldn't tear up his insides to pulp.

because he fucked everything up. he's standing in his empty office where you'd been spending time with him and he fucked it up and hurt you and he's not sure how to unfuck it.

the thing is, he could grin and bear it. he could deal with the odd thing inside him that hates the contact and white-knuckle it through every kiss, every caress. but he’s never been a great actor. he wouldn’t be able to hide that from you.

(kyoka told him, years later, that it’s not that the sex itself wasn’t fine—what made it nearly unbearable for her was the fact that she could tell, only after it was too late, that being physically vulnerable with her pained him far more than he was willing to reveal.)

no one wants to feel like the person they’re with is grinning and bearing it. that they’re white-knuckling it through. katsuki knows this. he knows he’s basically a fucking virgin all but in title at thirty and that he’s got the personality of a dried-out fig you find in your fridge weeks after its last edible moments. he doesn't have much to offer.

but he walked into work one day and nodded at you, curt, a grimace on his face—and you smiled at him so kindly that his stomach twisted.

with you, it wasn't the feeling of something being torn apart. it was different, lighter. leaves wrenched into the sky by a strong breeze. still a kind of tearing, but different—less destructive.

he was wearing a deep carmine sweater his mom sent him in one of her bi-monthly care packages (as if he’s not an adult, and a pro-hero on top of that), and you said, “that’s such a nice color on you. is it new?”

there was that breeze inside his chest, strong, pulling at his bones. “yeah,” he grunted. then slowly, as if remembering how: “thanks.”

it was the attention, he thought at first, that piqued his interest. he wasn't used to it. people always watched him from afar, and he had fans online that were borderline obsessive, but people didn’t approach him. they didn’t say that’s such a nice color on you. they didn’t smile the way you smile.

he’s always had a shallow streak. it’s not like he doesn’t know this. it’s become a little muted over time, a little discouraged by the visible scarring on his face and body from his time in the field, but it’s never fully been eradicated. so it was simple, he thought. you paid him attention and stroked his ego, and he preened like a self-obsessed bird of paradise.

and then you started making these little origami whale sharks.

fucking stupid. it bothered him an annoying amount. you had a bunch at your desk, all different colors and sizes, some taped to your desktop monitor, some hung up with little pieces of string under the desk's storage overhang. you drew dots on the back of each one, a distinct spotted pattern that was unique for each shark. and you made them for everyone but him. eijirou bought you a pack of high quality origami paper and you made him his own fucking school, all with little faces, winking or surprised or angry, their wide paper mouths gaping and empty, the lines of their bodies pressed careful and sure.

he hated it. it was annoying and a waste of company time and he usually didn’t ever use dumb corporate slogans like “a waste of company time” but you were really pushing his fucking limits.

it was definitely just the attention he liked, he told himself, because surely someone doing something as dumb as this would annoy him to no fucking end if he spoke to them.

and then he spoke to you and he was wrong.

he asked why you made the damn things in the first place and you told him, “i like whale sharks. but to be totally honest, i just run out of things to do."

and he saw that as a challenge. you were running out of things to do? rest assured he could find more shit for you to take care of. so he did. tasks that he wouldn't wish on his worst enemy, they were so dull and time-consuming. and you were so achingly competent that it drove him up a fucking wall. you completed everything he asked of you in half the time it would take someone else, and you always reported back with a smile, and you always did good work, and he could see himself having a conversation with you about something other than work but he didn't want to try because he was worried he'd begin to like you as a person.

you're pretty. really fucking pretty. he can see that now, and he sure as fuck saw it then. you're hardworking. you're just likeable, and that's something katsuki had never been. it (reluctantly) impressed him. worse than that, it turned his feelings for you into a sort of interest.

but he knows he's not normal when it comes to things like this.

he tried to distance himself from you because of it, but it turns out that asking someone to do work for you means you do have to speak to them sometimes. and sometimes turned into a lot of times.

sometimes turned into bringing him coffee in the morning, not because he asked you to, but because you're sweet like that. sometimes turned into being the person he bounced ideas off of when he had a board meeting coming up or something otherwise boring and meticulous. sometimes turned into you laughing at his prickly comments rather than going quiet because of them. turned into you saying suck it up, dynamight, this is what it means to be the boss when he complained about doing paperwork.

sometimes turned into staying late with him at the office, getting take out for the two of you to share while you finished filing claims and damage reports and other stuff he hated taking care of by himself. sometimes turned into him asking you to stay late just because he wanted you there. because even when he was quiet, you'd tell him about your day, about things that happened in the office, about how much you like the book you'd both been reading. he loved listening to you talk. felt comfortable enough to tell you things about himself when he'd never felt comfortable doing that before.

sometimes turned into you holding out a piece of fried tofu from your take-out container for him to eat while he was approving time-off forms that he should have looked at much earlier that week, and you being so close that he could notice how good you smelled, and the warmth of your body basically radiated towards him, like all your energy was focused on him, and your smile was small but somehow even more lovely than usual, a secret for him to tuck away and keep, and when you finished feeding him and he had a little sauce on the corner of his mouth and you reached forward to wipe it off for him and your hand lingered there for a moment and your eyes fell to his lips and what if you try to kiss me and i'm wrong and you hate me for it and what if i can't give you what you want and what if i'm not actually what you want what if i've disappointed you already what if—

it was too much.

so he fucked it up. your thumb was so soft against his skin. he reeled backwards in his chair, rolling it whole feet clear of you, and he felt the tearing again, the bad kind, like paper unevenly shredded by clumsy hands, and he had to leave. he had to leave. he needed to leave so badly that it felt like pulling his skin off would be preferable to being in that office with you.

hiding in the bathroom was fucking pitiful. he remembered his breathing exercises. he remembered to ground himself. and when he came back to his office, you were gone.

if he was normal—and he wants to be normal, god fucking damn—he could have stomached your proximity. he could have eaten out of your fucking hand. he could have touched you back like a normal person probably would have and he wouldn't be here, alone, looking at a little purple sticky note you left him that says i finished organizing the pto forms. i hope you feel better!

he doesn't know whose pride you're trying to save with that. as if you didn't leave because he made things so fucking awkward by running away from you when you touched him. when you—maybe, if he was reading the room correctly—were about to kiss him.

and you don't speak to him for days. he doesn't want to push so he doesn't—just watches you out of the corner of his eye whenever you're both in the same room, which is arguably worse. he's not sure. he's just itching to fucking talk to you because he misses it.

he misses you. in a more-than-friends way.

it takes a while for him to realize this. when he does, it hits him like a metal rod up the side of the head. it's fucked up of him to miss you the way he does when he doesn't feel like he can provide you with the things a normal person could. and though he's worked on his patience over the years—worked on understanding that he can't have everything he wants—it doesn't stop him from being selfish and finally pulling you aside to talk.

and baffling as fucking ever, the first thing you say is sorry. "i know i should've talked to you about it earlier. i just—i shouldn't have done that. and i know it. i shouldn't have assumed that—i don't know. that you..."

you look helpless. it's one of the very few times that katsuki has ever felt the compulsion to touch someone. not because he wants the touch, per se, but because he wants to be able to provide comfort. he never figured out how to do that with words. he's so focused on his inability to comfort you that he barely has any idea of what you're actually talking about. instead of doing anything at all, he just stands there like a fuckwad.

"i just want you to know that i would never—like never—have touched you, or tried to... if i didn't think there was like, a vibe?" you shake your head, exasperated with yourself. "god, even that sounds so bad. i'm sorry, i just—"

"wait, what are—?" and then it clicks, because he's been slow on the uptake figuring out his shit when he should have been focusing way more on yours. "there was..." katsuki says, and he fucking hates that he can't find better words for what you were both feeling in his office, "a vibe."

the way your face changes when you're flustered is one of katsuki's favorite things, but it's not as enjoyable when he feels just as flustered as you look. "i—oh? so... so you—?"

his ears feel like they're being attacked by two heated straightening irons and he knows they're red as hell right now. he's gonna have to say this plainly even though he'd rather get his teeth pulled out one by one with a pair of pliers. "it's not you."

your expression loses any sort of hope it once held. you press your lips together and sigh, maybe a little exasperated. he's doing his best here but he knows his best is shit. "i can handle a non-cliché rejection," you tell him. "honestly, i'd prefer a non-cliché rejection—"

"i'm not trying to reject you," he says, and it's selfish of him. because he's really not. he isn't comfortable with the things you'd want from him, but he still wants you in some capacity. "i just don't—do shit like that."

"kissing?"

somehow knowing for sure that you did want to kiss him in his office makes him want you more. he likes that you're bold. he likes that you're not ashamed of that. he wants to be different than he is. "any... of it," he struggles to admit.

"at all?"

he nods.

"just—like touching, and stuff?"

it sounds so juvenile that he can't help but laugh through his nose, roll his eyes. "yeah. touching and stuff."

"oh."

you're disappointed. of course you are. it's not like he expected anything different, but—sometimes he fucking hates his life. hates that he can't be the thing people need him to be. hates that trying is so difficult, that it flings his stomach into space, like a throwing stone skipping across a still lake.

"so you don't go on dates, or anything."

"haven't tried."

"do you not want to?" you ask, and he can tell it's more of a genuine question than anything. you're curious about him, like you always are. it's more than he deserves, for all he can offer.

"doesn't make sense to."

"that's not what i asked."

it's not. and so katsuki listens as you ask your question again, and he really takes a moment to think.

considering the answer to your question leads him to his first date with you. and his second, and his third—his fourth, and he's keenly aware that his last fourth date ended with what he expects all dates are supposed to end with.

he takes you to the aquarium. because of all the fucking origami whale sharks. you still haven't given him one and it sticks in his craw like a bone. in front of the backlit tank that holds sharks of all types, shapes and sizes and teeth he's never pictured possible of a living creature before, he asks, "why sharks?"

you look at him, brow raised. "i don't know. they probably needed the biggest tank in the aquarium. and this looks like the biggest tank."

"no, dumbass—your sharks. the ones all over the fuckin' office."

"what, you don't like them?" you ask, but you're smiling, sly.

he shrugs. he thinks they're dumb as hell. he wants one to hang up at work, like the ones you've got hung up at your desk. "they're whatever. they clutter the fuck out of ei's office. and he's already got issues organizing." you've just made eijirou so many at his point, and it's getting ridiculous. "but what—are they easy to make, or something?"

you laugh a little. "no. not at all, actually." a whale shark swims by, its spotted hide shimmering in the tank's eerie blue lighting, and you watch it intently. "but it'd be boring if it was too easy."

this date ends with him walking you home from the aquarium a few blocks from your apartment and you smiling at him and telling him that you had a really great time, and he feels like a fucking freak because you don't even expect more. you don't wait for a kiss. don't look disappointed that he doesn't try to give you one. the way you look at him holds so much affection that he doesn't deserve and he has no idea how to reciprocate it to you, and somehow he lands on, "make me one."

"one what?" you ask, but he thinks you already know what he's asking. you like to play coy. he likes it when you play coy. when you're enjoying yourself.

"one of your little fuckin' paper things," he mutters, because admitting that he wants one of those dumbass sharks feels somehow demeaning. he doesn't want you to know how much he's wanted one. "ei's got a million of 'em."

your hand was on your door handle, but it falls to your side. he's keenly aware of its proximity to him. he doesn't feel that terrible ripping in his gut and its absence is almost frightening to him. your fingers tighten into a fist. it's cold out. "ah, and you're jealous?"

"no," he says, knee-jerk. "i just don't get why everyone gets one but me."

you smile when he says this and he could live in this image of you, delicate and small and made for him. he goes home and thinks about it until he falls asleep. thinks about it even beyond then, feels that strong breeze inside him tearing every leaf from its grounded perch.

here's the thing—nothing against jirou, but unlike his other fourth date, this one was enjoyable. more than. he loved watching you be amazed by the size of the whale sharks, and he loved watching you put a bunch of coins into the penny press and cranking the machine until one was squeezed out into the pattern you wanted, and he loved watching you lay your hand against the glass where the rubbery wings of a flood of stingrays battled for your attention, and—

he loved watching you. that's weird, right? he sounds like a fucking lunatic thinking that.

but he does. he hadn't realized until now how difficult it had been not only to touch people, but to look at them. maintaining eye contact, watching someone do a simple task out of interest instead of staring them down in an attempt to intimidate them. he's so much more fucked up than he thought but what makes it bearable is that he can do it with you. he can watch the way you enjoy things and feel like he's not intruding on something he shouldn't. without even trying, you make him feel welcome—wanted.

that's it. you make him feel wanted.

the realization affects him in a way he doesn't understand. at work the next day, when you smile at him over the top of the front desk, he feels something incredibly strong—something like instinct—that tells him to touch you. small. a thumb brushed across your cheek. his fingers grazing yours. he wants it in a way that can't be right because he's never wanted to touch someone like this.

he doesn't do it, but he thinks about it all day. your little smiles when you notice him watching you on your dates, the way your fingers graze your lips when you cover your laugh, the softness in the way you regard him. you're quiet, reserved, but when you laugh you laugh hard. he wants your soft, your quiet and your loud, he wants the feeling of your fingers on his lips, he wants your smallest smiles, all things he wishes he could fold up and keep and later display somewhere he can always see them. a school of paper fish, gaping mouths and drawn-on spots and such carefully pressed lines.

so on the eleventh date—(he knows it's ridiculous to count, but he's never spent this much time with one person before, not like this)—he reaches for your hand when you're walking alongside the bay, the air turning cold in the wake of the sunset that the two of you had just witnessed. that's romantic, you'd teased when he asked you to watch it with him. he'd rolled his eyes, shrugged you off.

but maybe he wanted it to be romantic. maybe he wanted to make this as normal as possible for you because nothing has been normal between the two of you so far.

you pull back when he reaches for you, as if on instinct. look up at him, confused, when he reaches out again. "katsuki..." you say, and it sounds as if he's done something wrong.

he tries not to let his brain spiral but thoughts drip inwards. water meeting a dented hull. what has he done this time? what else has he fucked up by being fundamentally wrong?

"you know..." you start, and you lose your words.

he thinks of kyoka, years ago. it's okay, you know. to not like it. he wonders if you'll still text him like she does.

your lips pull into a frown before you speak and katsuki can't breathe. "i was never gonna ask on my own because i know you don't like talking about things like this if you don't bring it up. but—um. katsuki—do you think i expect something from you?"

"huh?" he asks, dumb. breathing is still something he fails to do.

"i know that this is—different. i know you have some things going on that make the physical part hard for you." you look up at him so earnestly, and he loves looking at you. he loves looking at you and doesn't want to have to stop and he's worried that this is it. the moment he'll have to stop. you try to smile and it's small and he wants it all for himself. careful. delicate. secret, for him. "i'm not gonna lie to you. i don't know what a relationship without that kind of stuff looks like. but that doesn't mean i'm not willing to find out. it's—i don't need you to try to do something you think i want you to do."

"i'm not."

"it makes me feel a little sick, kat. honestly. it makes me feel like, i don't know—like i'm taking advantage of you, or something—"

"you're not."

"you don't have to do things like that to keep me around." you look flustered, eyes darting from his face to the skyline. "if you want me, i'm—you know."

it's okay, you know. "i don't know."

"i'm yours," you say, and cringe immediately at your words. "or like—i could be, you know, kind of whatever you wanted, if you—if that's what you want. would want."

katsuki can only remember a few times when his head was this quiet in the presence of someone else. when he trusted someone enough to let his mind go blank, to let himself act on instinct. "can i kiss you?"

you sigh. "this is what i was saying. i don't want you to—"

"no," he says, quiet, and he's closer to you than he's ever been. he likes the way you smell. he's not gonna apologize if that's weird. "i just want—god, i feel pathetic asking again. can i just—?"

just, just, just. just a touch, just a kiss, just a moment of your fucking time—it's all he wants. and he's never wanted like this. he's never trusted like this. his head has never quieted entirely because he's so sure that he's not going to disappoint you, or be something you don't actually want, or be wrong.

you've shown him that he can't be wrong with you, regardless of whether or not something within him is broken.

your lips are warm, a little chapped from the dry air, and he tries to remember what kissing chastely is but it's like something breaks in him further the second the two of you touch. his hands are cradling your face, his tongue is gliding against your tongue, his teeth are clacking against your teeth, and he knows the kiss is bad and wrong and messy but he suddenly needs it. he needs to feel you.

you make a noise against him and worry slices into his stomach before he realizes it's a quiet, breathy moan, and maybe you've been okay without the touch but that doesn't mean you don't enjoy it when you receive it. he can tell he hasn't made his boundaries clear enough—your hands circle his wrists, too cautious to go further, too hesitant to grip him like he thinks you want to. like he wants you to want to.

his teeth hit yours again and you laugh, and he pulls back, stomach tight. there's a hope in him that's ready to be torn.

you see it in his face—the fear. "i love kissing you," you blurt out, as if it's the only reassurance you can think of in the moment. "i mean—you're just." you laugh again, and he realizes it's nerves. you're just as nervous as he is. "can i—can we go somewhere warm? and maybe do this more? or—if this was enough—"

he's pulling you towards his apartment before you can get another word out.

kissing you is easy because you make him feel like it's relatively new for you as well. maybe that's how it feels for everyone every time, but he wouldn't know. he just feels comfortable with you. like you're not so much better than him, like you're not waiting to laugh at him when he fucks up, like you're touching him because you really want to.

so he takes you to his apartment and puts you on his couch and kisses you until your back is against the armrest and he's looming over you and you feel comfortable enough that your hands stray from his wrists to his shoulders to his hair and he didn't even know touching someone could feel like this.

put aside the fact that he's nearly finished in his fucking jeans three times just from your fingers running across his back, from the way you cup his cheek when he pulls back for air because he keeps forgetting to breathe—just having you close is intoxicating. he wants to bury his face in the curve of your shoulder, he wants to bite marks into your skin that'll stay vibrant for weeks, he wants to etch himself into you so deeply that he doesn't have to leave. these wants aren't even sexual—it's something about having you be his. i'm yours, you'd told him, and he hadn't even known that it would be exactly what he needed to hear.

he's in love with you, which isn't shocking to him, but he knows he shouldn't be in love with you yet because people that aren't fucked up in the head don't feel shit like this so quickly. he's not gonna tell you this for a very long time, but he knows—so completely and confidently—that he will reach a point when he can tell you.

"you sure you want this?" he asks, breathy, between kisses.

you stop kissing him, brows raised in surprise. "katsuki, we don't... this is a lot for one night. we can take it slow, still."

"that's—i'm not talking about that." he gives in, then—lets himself bury his face in the crook of your neck, lets himself breathe in deep, lets himself find your hands and intertwine your fingers, and you can probably feel that he's hard as fucking metal for you but that's not what's important right now. it sure as hell makes it awkward to try to have a serious conversation, though. "you sure you wanna deal with all... you know. my stuff."

"are you sure you wanna deal with all of my stuff?" you counter, and he pulls back to look at you. kissed rotten and smiling. "of course i want to deal with it. i like you."

and he likes you too. god, he likes you so fucking much.

the next morning, long after you've left for home, he finds a little orange whale shark hidden behind the alarm clock on his bedside table, stars in the place of eyes, and the trace of you is enough to make him feel warm. to hope that over time his apartment becomes full of the little paper creatures until his home is its own aquarium, until everywhere he looks is a memory of all you've brought him—pieces of you, perfectly arranged and delicately folded by your careful hands, much too gentle to tear.

[nitrateglow]

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

[chimggukchim]

Share our @s so we can be bullied in our inboxes till kingdom come and be ostracized by you lot? No, thank you. I'm a Jikooker too and I've seen it happen to other Jikookers too many times just because their view of Jikook isn't "they are 100% together and practically married and monogamous towards each other for more than 10 years now"

Unfortunately this space has become too cult-like where one just can't have a slightly differing opinion about Jimin and Jungkook's relationship or express how they personally truly observe it without Jikookers losing their minds or accusing them of things, the way you guys are doing right now.

There's literally no difference between this community and the Taekooker community anymore - I've seen that crazy side turn on their own just because they had the audacity to point out the ITS talk made sense to them because for a while prior to that even they felt things weren't the same between Taekook anymore. And now it's Jikookers doing the same to other Jikookers🤦🏻‍♀

People can believe that Jikook is real while still pointing out the things they feel contradict that belief, or they can believe they were together and no longer are but still think they are special to each other, or they can believe they aren't together in what one would consider the "conventional, traditional" sense.

Taekook can never be real. That is a ship that has no real substance and was literally formed on aesthetics and vibes and had a whole false narrative attached to it that became lore over the years. A lot of people say just Jikook's existence alone cancels out Taekook, but I think even if Jimin and Jung kook didn't have the kind of dynamic they have and/or they didn't exist as a duo, Taekook still wouldn't be real. Please there's fuckall there.

I am someone who believes there's something more than platonic between Jimin and Jungkook and that Jungkook is deeply in love with Jimin, but still I agree with everything the last anon's(s') said. They *are* different from how they were before and the last few years make it hard to believe in the kind of image of them that Jikook shippers have painted for years.

We are Jikookers, we are here, we exist. Accusing us of being Taekookers won't make that shit true. We don't have to be a monolith.

First thing's first - YOU may not be a taekooker in disguise, but the other anon most likely was. And most with dumb takes are as they have a knack of using the SAME rhetoric and examples every single time, not to mention, always managing to slip in Tae somehow. Let's get that out of the way.

Now, here's the thing, anon.

I understand completely, the feelings of confusion and second-guessing whether jikook are really together or not. I have been there before, on multiple occasions. There were things in the past as it happened that made me doubt whether my suspicions about the true nature of their relationship was right. I get it.

So don't go putting words into my mouth and think that you can assume 'what kind of jikooker' I am.

Cause like I've said on multiple occasions now, I did not start out in the ARMY fandom space either as a jikooker or as a shipper. I had no clue what shipping was. And til this day, I remain an ARMY supporting all of our boys as a group before any sort of shipping enters my mind. Whenever I watch BTS content, jikook as a couple is never at the forefront of my mind. I watch them as a part of Bangtan.

There are certain moments that jikookers put on a pedestal as concrete 'proof' of a relationship, that I side-eye and hence, make no post or comment on because it does not make sense.

If tomorrow, Jimin and Jungkook were to announce they were both dating other people, I would still be happy for them because before anything, I want them to be happy. If that's with other people, so be it.

So I know me and how I perceive Jimin and Jungkook's relationship. I trust my objectivity of their relationship over yours, thank you.

Now to what you have accused most in this community of...I have honestly yet to see to the extent that you have indicated. Harassing? Bullying? Cult-like? Well, I've got news for you. You're in the wrong side of town, deary. And people who go looking there, clearly want to find what they're looking for. (toxicity, by the way)

And the way you spoke of taekookers and knowing how they behave and treat each other?...Honey, the 'normal' jikooker would NEVER EVER find themselves anywhere near taekooker spaces willingly. But you have apparently. That says a lot.

You're looking for trouble. You're going to find it.

Also...my sympathy for you lessened when you compared jikookers to the cult. Because the last time I checked, jikookers didn't go around literally harassing Tae's and JK's FAMILIES AND FRIENDS in real frigging life. So miss me with that similarity nonsense. Point out all you want about SOME jikookers not being able to handle different takes of others all you want, that's fair. I'm sure there may be the immature ones like that in this community, I'm not denying it. I assure you, they're in the minority. But the minute you go comparing any shipping community's behaviour to THAT CULT...it clearly shows loose objectivity.

So with my sincerest heart, I would advise you to change your space. You're clearly in toxic spaces, jikook and taekook-wise. This is bound to influence how you view not only jikook but more importantly, the jikook community.

There is a reason why I don't answer or comment on toxic asks. It's because it brings negativity to the jikook space. And I don't want that. I have found myself probably treading on that territory these days with this discourse. But I'll work it out to bring back the space to positivity and just focusing on Jimin and Jungkook.

Anyway, the final thing I'm going to bring up is that you all keep speaking about Jungkook and Jimin's relationship changing with no actual evidence. You all simply point out things happening now but fail to actually show a proper comparison to the past to highlight the 'CHANGE'. That's not how that works.

For instance, I can say their relationship changed in that Jungkook became a lot bolder with JImin publicly as opposed to years ago. He actively flirts with Jimin on stage when, for instance, during the Red Bullet Tour (back in 2014-2015), he didn't. Jimin did. See how easy that is? Comparison.

If you have any sound comparisons...with proper context, by all means, share. I'm up to hearing it.

PS. This does not include "they don't see each other as much" because we are not privy to how much they actually saw each other back then nor how much they did in 2022/2023.

Anyway, that's all from me. Peace!

[iliterallydecepticanteven]

My boss asked if I could come in and work a few hours on my birthday next month (it's on the weekend this year and my normal work schedule is just weekdays) because we have a very time sensitive and expensive two day experiment lined up and ngl as someone who doesn't really like her birthday or has the best memories associated with it, getting paid time and a half for a few hours to fuck around with super expensive shit sounds pretty fun.

[ruvviks]

it's been a hot sec since i've talked about cyberpunk and i was initially working on a fic that would tell the story of this whole thing, but i've abandoned it many months ago and cannot say when i'll be picking it up again SO! i've decided to instead make this timeline. sorry in advance for how much information is in this thing the cyberpunk extended blorboverse essentially refers to the story parallel to the in-game events of cyberpunk 2077 that @mojaves and i came up with. we don't really have a better name for it but at this point the term has been used so many times that i feel like everyone here knows what it is by now, but at the same time we've never really explained the full scope of what the story is by now (it's a lot sorry). so in an attempt to get you guys a little bit more up to date with it all, here's a semi coherent timeline that describes the core events of the story and every branching story that came out of it! for additional background information, you can check out the following posts (timeline 1 / timeline 2 / timeline 3) to catch up with the continuation of the in-game storyline that's referenced in this timeline, but it's mostly irrelevant to everything here save for a couple of referenced events that cross over between the stories. it all ties together very intricately sorry about that. don't worry too much about it i've included my taglist down below to make sure people who are interested won't miss this post, but feel free to skip over this if it's not your thing! won't be doing a lot of this kind of stuff in the future but i'm trying to get back to the cyberpunk roots so this is kind of like, a good starting point and reference point for later posts!

The story starts in early 2077 and is centered around Sebastian Vidal, gang leader of the Cobras and previous test subject of Arasaka Special Programs (the linked page is a lot of information but gives the most coherent overview of what the branch actually is). The current director of the SERPENT projects, Andrew Colton, and Dr. Alana Cartier, both want him dead, to tie up their last loose end before the rest of Arasaka can find out and shut down Special Programs once and for all.

Over the past months they’ve been hiring various assassins in secret, to try and get Seb killed; however, these assassins keep failing, and their latest attempt lies in the hands of Cassidy Shaffer, an ex-corpo turned assassin with a strong moral code and plenty of experience to his name. With little to work with, as his mysterious client doesn’t give out much information, Cassidy starts with what he thinks is gonna be a quick and easy job– but he ends up hunting after Seb for essentially a year.

During this year, the two men have a series of wild encounters that get more and more insane the longer it goes on; it includes, but is unfortunately not limited to, Cassidy biting off a chunk of Seb’s ear, the two of them running over the highway, the two of them getting handcuffed together and chased by the NCPD then hit by a car right in front of the hospital, and Seb sensually licking blood off Cassidy’s face after having stabbed him when Cassidy wanted to strike at a concert Seb is visiting.

All of it comes to a sudden stop when Cassidy learns his client has been lying to him the whole time, and since he does not appreciate lying clients he ends up jumping sides and teams up with the Cobras to do some cleanup duty in Arasaka Special Programs. He and Seb work together to go after a list of targets to get the still ongoing projects mostly to a halt, while remaining in the shadows themselves as to not draw too much attention their way; and during this collaboration they meet several people from their past, bringing back both good and bad memories.

One of these people is Hanan Chisaka, the Head of Security at Special Programs. She ends up becoming the next test subject of Project Cobra after the last successful subjects, Xavier and Gabriel Mason, end up escaping in the midst of the chaos of Hanako Arasaka’s capture in mid-2077. Once Seb’s best friend and Cassidy’s mentor, she’s now forced to hunt the both of them down; but in their final confrontation she snaps out of the controlled mode Arasaka keeps her in and runs away with them, effectively leaving Special Programs without any test subjects. Another one of these people is Reid Bennett, Cassidy’s ex and ex-coworker back at MaxTac. He still works for the corporation and has been on an ongoing investigation into Arasaka Special Programs; seeing Cassidy alive and well, working together with Seb no less, piques his interest and he continues to look further into the case, which will cause him to make a very big mistake later on in the timeline.

By September 2078, Seb and Cassidy have successfully taken down all their planned targets and retreat back into the shadows, leaving Special Programs with many losses and no test subjects. With the APEX program discontinued a month earlier (incident discussed in this fic, which is a continuation of the in-game events), and Hanako Arasaka recovered and ready to take the corporation back from the hands of her corrupt brother, Special Programs ends up having to retreat for the time being, and cook up a new plan in the background.

Special Programs by this point is run by Andrew Colton, Alana Cartier, and Kaida Akiyama, three players who have been in the game for a long time already in the SERPENT projects’ runtime. Colton and Cartier are married– Cartier used to be married to Seb and cheated on him for a good amount of time when he was still at Arasaka– but their marriage is starting to fall apart. Akiyama has had to watch over Special Ops agent Ambrose Hawthorne for a while during his chase after the Mason twins, which ended up with the twins dead and Hawthorne going into early retirement (Arasaka doesn’t know the twins faked their death and Ambrose is now dating one of them lol), and xe is now determined to help Colton and Cartier get Seb back into Arasaka so the projects can continue.

Cassidy’s initial plan was to leave as soon as the collaboration would come to an end, but he has found his place with the Cobras and instead ends up officially joining them.The next chapter in the story is a more laid-back and easygoing chapter, in which Cassidy learns to be part of real life again, and in which Seb learns to let people get close to him again after spending years trying to convince himself he doesn’t need any help. Over the course of a little over a year (all the way to November 2079), the two grow even closer than they had already done, going on gigs together and, you guessed it, slowly but surely falling in love until they inevitably end up together at the end of it.

Not long after the two get together, Reid returns into Cassidy’s life. He wants to try and be friends again and Cassidy gives him a second chance, though this soon enough turns out to have been a mistake, with Reid trying to create distance between Seb and Cassidy and then going as far as trying to sell Cassidy to Kang Tao (one of the few corporations that have been hunting Cassidy down for a while now) in exchange for his own freedom from MaxTac (where he would have otherwise been stuck at for probably the rest of his life). Naturally, Reid can’t watch Cassidy get tortured for long and leaks his location to the Cobras, who find and free Cassidy and take Reid into captivity instead– he does not get killed, but instead has to sit out some time at a safehouse somewhere in solitude, where he gets to decide what kind of person he wants to be in the future.

This brings us to Elysium; a gorgeous spaceship which was supposed to be a relatively cheap escape from reality for everyone who wanted a refreshing break from Earth, but through Arasaka sponsorship has become just another cash-grab project to compete with the Crystal Palace– and considering the megacorporation has its greasy hands all over it, the secret labs in the spaceship are used for a series of very unethical experiments. Naturally so, it would be the perfect place for Colton to continue his SERPENT projects without the risk of Hanako Arasaka finding out and shutting the place down. He sends forces up to Elysium (obviously after his other attempts at relocating the project to space have failed tremendously, having lost contact with every single crew in the smaller Arasaka stations in orbit around the planet), but since he’s not there himself his cousin (one of the CEOs of Elysium), Maxwell Crane, unbeknownst to Colton, takes control of the SERPENT projects in space instead. From the earlier linked Special Programs page: “Project Eryx used the technology of previous projects, but took a completely new approach in the hosts it used; rather than focusing on the human psyche it attempted to create a new type of cyborg which would lack the humanity that caused previous projects to fail. The Cobra chips were no longer used and the software was instead installed directly onto the host’s mainframe. The flexibility of the new hosts– more robot than human, and in some cases the entire human aspect was lacking altogether– allowed for experimentation with highly advanced cybernetic enhancements and military grade tech and upgrades, turning the test subjects– dubbed ‘prototypes’– into dangerous, unstoppable killing machines.”

Things settle down for Seb and Cassidy, but this moment of peace does not last long. In January 2081 the two find themselves traveling to the spaceship Elysium, to investigate a curious situation in the laboratories– they’ve been hired by Arasaka without their knowledge and it’s a setup to get Cassidy killed and Seb back in Cartier’s control.

While in space, they learn that the secret labs have suffered an outbreak of the above mentioned prototypes. They quickly connect the dots and realize Special Programs is back in the game, and they work together with security guards Aubrey Valentine and Leon dello Russo to try and fix the situation before it gets out of hand. Obviously this fails tremendously and Elysium ends up on a complete lockdown after a ship-wide outbreak, which is eventually contained in late March of that year, with CEO Maxwell Crane dead, leaving only his wife Kinsley Osborn behind.

Elysium continues to exist and is rebuilt after the crisis, and Kinsley Osborn can now finally turn it into the retreat it was always meant to be. Previously, most Elysium employees were to be stuck in space for the rest of their lives; however, with Arasaka out of the picture they are free to leave as they please, which results in a gigantic cut in total employee count in the months that follow.

Seb and Cassidy return to Night City and take Aubrey and Leon with them. Aubrey reunites with his sisters; Becca, James, and Rikki, and soon after his return to the city he opens an LGBTQ+ nightclub called Bodytalk with them, found Downtown, City Center, in June 2081. Not only is it a fun place to hang out at, it’s also his main hub as a fixer, and he starts a collaboration with the Cobras to get business going between the gang and the club; and soon enough it grows into a large and powerful network of connections, which is the foundation on which the rest of the stories are built.

After this point in time, many many more things happen but it would take me another hour or ten to go into full detail of all of that, so instead here’s a quick rundown of some of the other things that Bodytalk gets involved in:

Reid Bennett is handed over to Aubrey and he starts working at the club, and he becomes a very valued employee as well as a good friend to many now that he’s no longer fucking insane

Kaida Akiyama returns from Elysium and shows up to Hanan’s doorstep, to ask for her help with getting out of Arasaka for good; much later on, xe starts working for Bodytalk as well, in an attempt to put xyr past behind xem and become a better person

Urban Dynamite starts performing at the club regularly, and it becomes their home base

Luna Serratos, Cassidy’s ripperdoc friend from all the way back to killing era, gets involved in the Harbinger case from Maelstrom (one of the gang’s most feared members); turns out the Harbinger is in fact Reuben de la Rosa, a by then 22-year-old kid who has ended up in Luna’s care with his friend Noah Telavera after the two got caught up in an explosion. She requests the Cobras’ help with getting Maelstrom to let Reuben go

Officer Michele Diaz from Militech (who used to be Cassidy’s boss) is demoted following the lawsuits after the Elysium incident, and her investigation into the incident in hopes to get her job back leads her to Bodytalk; she begins threatening them and sends the whole club and their allies into uncertain times

Many people get married. There’s so many fucking guys here we went a little insane with the numbers but there’s several weddings and there’s a whole polycule going on too feel free to send asks about this if you’re interested

Cobra Cybernetics releases a new line of cyberware, which is incredibly buggy and dangerous to the public; it’s brought to the club’s attention and it makes them realize that Luiza Vidal (Seb’s sister), who not that long ago asked them to kill her husband (William Colton (Andrew’s brother), CEO of Cobra Cybernetics), has gone missing; they now need to get involved without getting the news out that they actually didn’t kill William and that he is still alive somewhere, while also balancing out dynamics between Biotechnica (angry at Cobra Cybernetics for stealing their designs) and Arasaka (the actual reason why Cobra Cybernetics’ designs look like Biotechnica’s designs, because William stole designs from Special Programs after halting their partnership after the Elysium incident, but these designs had been stolen by Arthur Jenkins from Biotechnica even BEFORE that to be able to hijack the European Space Council’s cybernetics following the Frankfurt incident. Are you still with me)

Vitali Dobrynin (fixer and main character from the in-game events storyline and the continuation of it; Vincent “V” Mayer’s boyfriend) ends up visiting Bodytalk after meeting Aubrey at a Fixer Council meeting, which happens in late 2083; this essentially ties the two main storylines together, which means that yes, a lot of the characters from the two separate storylines end up meeting :]

Officer Ulysses Dimakos (used to work with Reid at MaxTac) is sent to investigate Bodytalk following the Cobra Cybernetics scandal, and ends up teaming up with the club to get MaxTac on a dead trail in exchange for his freedom of the corporation

On top of the Bodytalk / Cobras centered storyline, there’s a couple of side stories that are still connected to the whole thing but are more of a standalone thing with only a few touching points to the rest of it all:

This obviously takes place a lot earlier because it’s already mentioned above, but Special Ops agent Ambrose Hawthorne is tasked with chasing after the escaped Mason twins; naturally he lets them go and ends up going into retirement, and Xavier Mason later on ends up becoming Bodytalk’s part-time repair guy on account of knowing Kaida

Gabriel Mason ends up in a car crash with retired security specialist Ames Ortega, who was also in Elysium during the incidents there, and the two end up babysitting Ambrose and Xavier’s kids together while those two are helping Hanan with getting Kaida out of Arasaka (Are you still with me. Blink if you can hear me)

Mercenary Frankie Sayyad gets a promotion from his fixer, Vulture (real name Diana Crane, Maxwell Crane’s older sister and cousin of the Coltons), and becomes one of her Bloodhounds; he works together with Evelyn Harris, Nimue Nkuna, and Beckett Rydel, the latter being one of the very first test subjects of Arasaka Special Programs, and the four accidentally get themselves mixed into a mystery concerning their secretive fixer

Caleb Harris, ex-security at Biotechnica, ends up back at Club Bodytalk not long after the conclusion of the Cobra Cybernetics scandal, and starts working for Aubrey; he is partnered up with Ramiel Al-Masri, a mercenary who has been working for Vitali Dobrynin for a while and has recently joined Aubrey’s mercenary roster too, and together they dive into a series of gigs neither of them had expected

Journalist Bodhi Shankar has finally found more evidence and information surrounding the mysterious cult gang Umbra and its so-called Prophet, Thiago Salazar; however, his antics have led to him accidentally becoming part of the gang himself, and he has to figure out a way to get Thiago to stop listening to the supposed deity that the gang worships known as Scintilla, before she makes him do things that will get many people killed

taglist (opt in/out)

@velocitic, @deadrlngers, @euryalex, @ordinarymaine, @gurathins;

@mojaves, @shellibisshe, @dickytwister, @mnwlk, @rindemption;

@ncytiri, @calenhads, @noirapocalypto, @florbelles, @radioactiveshitstorm;

@strafethesesinners, @fashionablyfyrdraaca, @aemondtargeryen, @radioactive-synth, @katsigian;

@estevnys, @elgaravel, @aezyrraeshh, @carlosoliveiraa

[puppyeared]

i think the reason why im so drawn to spirit tracks and pkmn scarvi is that having the legendary/princess as a companion rather than a goal that marks the games completion makes me feel satisfied the way i would after helping a friend

my brother always teases me about how I still havent finished botw after almost 7 years bc "id rather be out picking flowers" which i wont say is untrue. and yes i know Zeldas been holding off ganon for 100 years, yes i can get some sort of idea what her relationship with link was like by recalling memories and going through her diary. ive always loved botw for its unique storytelling and setting which makes it stand out, because it lets you get to know who you're saving.

but because theyre memories, it only works if theres something for the player to investigate that already happened. its retroactive (but effective nonetheless)

on the other hand, spirit tracks does something similar but instead of having the player try to piece together memories and interpret them as a spectator, you actually have an opportunity to get to know zelda yourself by talking to her and working together. besides making it a gameplay mechanic, giving the player control over how they interact with zelda makes it so much more personable.

and I find that making the goal feel personal instead of an obligation gives me more of a reason to work towards it. I know what kind of person botw zelda was but as the player, shes still very much a stranger to me. but spirit tracks zelda? thats my friend!!!! she invited me to go to the beach after we get her body back!!! i dont want to whip her to make her move faster thats mean :(

you know how hostage negotiators are trained to introduce themselves and get to know the person theyre negotiating with because its harder to hurt someone when you know what their favorite food is? its kinda like that, because it feels like im helping a friend than being told or led to do smth

and although i havent played scarvi myself, i feel an attachment to koraidon and miraidon even just watching playthrough clips because its like!! thats my weird scaly dog!! it loves sandwiches and we're friends!!! you know!!!!!!

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[james-spooky]

this is a test

[faaun]

ok let's catch up quickly

[kuromi-hoemie]

hhhh talking about my writing was fun but 30 tags is not enough.. yes i have 3 major influences but i have minor ones too.. it is a lovechild of my favorite things.. writing is so fun and i have no self control or a concept of pacing myself i will sit there for 16 hours and get hit with every status effect but by god does it all just flow out of me. I've always been a music person yes but i also used to write a lot into early adulthood until The Incident™

but i am ready 2 jump back into it. i think comics are a great middle ground between the two mediums so i don't get As into writing bc i kind of started going crazy last time 🫡 i can take a more structured approach to it that forces me to pace myself and think about it differently. i love art.... i love making things i love knowing how to do things i love knowing how to play things i love having so many creative outlets, even if i don't do a lot of them regularly lol. it is enriching 😳 and nice to know that it's always there to come back to when u want.

[demigod-of-the-agni]

Art vs Artist 2023!! 💥 I didn't expect the year to be so colourful... but there is a Severe lack of purples. Anyway, it was a literal struggle trying not to add Pavitr art because he keeps infiltrating every month T-T

Happy to say I'm proud of the art evolution! Thank you Spider-Verse for pushing me outside the box and really embracing the fun and whimsical style of Mumbattan. Who knew mimicking old timey comics would be so much fun?

high quality versions of the above images under the cut!!

i fuckin love this clip i want it tattooed on my soul

[aroaceofthesea]

Summer camps and similar very intense for 2 weeks and then suddenly finished activities are so tragic because you'll form one of the deepest connections of your life and then you never see those people again

[cookiecomics]

.