#ive been thinking this for a while

[kitnapz]

the amount of anti-korean racism and xenophobia in american k-pop circles is kind of astonishing. whenever a controversy for an idol is trending, all i see are people blaming the "awful k-netz" or saying that k-netz are entitled/selfish/etc. when american fans are just as guilty of shaming and hating on idols (lest ppl forget about how they treated wonyoung). when i go onto wonyoung's insta page, all the hate comments are from english-speakers. but because americans are jealous of k-fans being prioritized (because its literally. korean pop music) theyre willing to villainize koreans even though there are bad apples in every circle. it also kind of creates an echo chamber because they dont ever actually talk to any native korean people. idk! they're bitter and jealous and its showing. shame.

[copdog1234]

Idk what it would be about, but "It's a Sin to Tell a Lie" should be a Twiyor fic title because that song by the Ink Spots is sooooo them and it'd just be a good reference, I think.

[happyallykats]

THANK YOU

Alright, it’s less than a week since the Owl House finale aired and as expected I’ve already seen two direct comparisons to Steven Universe’s ending and several more vague-blogs, because one of this site’s hobbies is using other queer shows to put down Steven Universe. So let’s do this, then. Let’s compare the endings of Owl House and Steven Universe, and what each is ultimately trying to say.

Steven Universe and the Owl House are both shows that deal heavily with the clash of individualism and self-expression vs. socially-mandated conformity, and both shows’ final villains ultimately embody this conflict. One major difference, however, is that Owl House approaches this from the perspective of legal/societal structures, while Steven Universe approaches it from the perspective of family structures.

Steven Universe has always been about family–and particularly the ways traumas and biases are passed down through a family–and it has always heavily used the language of metaphor to discuss these topics. The Diamonds are the ultimate extension of this theme, something a lot of bad-faith (or just bad) takes on the ending miss; they interpret the diamonds in their literal capacity as dictators, rather than the way Steven Universe always portrays them, which is as matriarchs, i.e. the heads of a family who dictate and control all the family’s other members. This metaphor becomes more and more blatant until it outright becomes text, with the Diamonds turning out to be Steven’s literal family members, with whom his part of the family is estranged because of their previous controlling behavior.

In accordance with this theme, we ultimately find out that the Diamonds’ toxic ideology, with its rigid standards of perfection, are not only something they enforce on the gems below them, but also on themselves. They are suffering from the system in their own ways, unable to live up to the standards they themselves created. And who among us hasn’t known someone like that? A parent or grandparent who grew up under a cruel, oppressive worldview, and instead of rebelling against it internalized it–who turned around and said “I dealt with this, and so can you”? And so the ending of Steven Universe is the Diamonds realizing exactly how toxic the rigid ideology they’ve spent their lives perpetuating really is, and confronting the fact that their adherence to this ideology is what destroyed their relationship with Pink, and that the only way they’re going to have a relationship with Steven is if they’re willing to commit to changing both themselves, and the family structure they’ve enforced for so long.

Emperor Belos, in contrast, is not suffering from the structures he created, because his rules were never meant to apply to him. He sees the witches (and demons, and so-on) as lesser beings, evil beings, who exist to be controlled, and ultimately, exterminated. And every element of the society he built–the schools, the government, the police force, the religion–he intentionally constructed to keep these lesser beings under his control. The real-world allegory isn’t hard to see, here. And because what Belos represents in the story is, in fact, a fascist leader, the story shows that he can’t be reasoned with in any way that matters, and instead he is ultimately ground into paste beneath the boots of the people he sought to destroy. Different themes, different endings.

Now the usual argument that comes up here is as follows: but the Steven Universe ending isn’t as realistic! Not everyone is going to change, not everyone is going to be able to be reasoned with. Not every older, conservative family member is eventually going to accept you for who you are. And while that is true, ultimately SU isn’t meant to be realistic; it’s meant to be a power fantasy. Rebecca Sugar has come out and said before that they wrote a world in which there was good in everyone, because that’s the way she wishes the world could be. That’s the world they want to be able to believe in. And I am never going to begrudge a person, much less a queer person, for finding healing in writing that kind of world.

But you know what else is unrealistic? What else is ultimately just a fantasy? Grinding your government’s fascist leader into paste under your boot, then taking over and remaking society into something that accepts everyone. Sadly, Trump is not likely to get his ass beat any time soon. And more generally, punching fascists, while ideologically sound, is something most people are not going to get to do, due to real-world consequences such as “getting beat up by the fascist’s angry friends” and “being arrested for assault”. And even if you did depose one leader, our very society is set up in a way that perpetuates all manner of injustices, and systemic change is a complex and lengthy process that almost certainly won’t be completed in our lifetimes. But it’s fun to imagine we could, isn’t it?

Both endings are power fantasies. Both show the way they want the world to be, rather than the way it is. They are very different power fantasies, which fill very different–and at times conflicting–needs. And in situations like that, internet culture really likes to pick one to be the right fantasy, the right way to look at the world. 

But the truth is, both fantasies are needed! Some people need stories about your queerphobic relatives finally realizing the error of their ways and taking the necessary steps to accept and reconcile with you. And some people need stories where you get to grind fascist bastards beneath the heel of your boot. It’s okay if you prefer one type of fantasy over the other! But in the end, both are valuable, and both are important. 

And isn’t it wonderful, for us to have such a diversity of great queer stories? That we can explore both of these deep, conflicting needs? Let’s appreciate each of these fantastic works for what it was meant to be, rather than trying to pit them against each other or make them conform to a single, “best” way to tell a story.

[perfectlyripeclementine]

calling my lover "mine" but not in the way that my toothbrush or notebook are mine, mine in the way my neighborhood is mine, and also everybody else's, "mine" like mine to tend to, mine to care for, mine to love. "mine" not like possession but devotion.

[anbaisai]

how it felt to wake up today

[joshuamj]

Hero.

[dumbgoonpup]

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Boys whose voices get higher and whinier while ur fucking them I love you. Boys who speak in a lower register when they're around their friends but lose control when they're begging and whimpering for me I love youuuu

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

[hinata-boke]

guy with no sense of personal space

[madness-of-the-masses]

This is one of reigens special moves

[puppyeared]

basement guys

[bribinart]

hear me out hear me out hear me out..... dracopia but it's the dracula (1992) rendition (prints!)

[mxcrayon]

losing my actual mind rn

i had this interaction in the dropout discord (i am the first and third person). short. simple. i only got the first year bc of a discount + a gift card i had, so i was planning on using this person's suggestion.

then, i got this.

oh my god!! how nice!! how sweet!!! how thoughtful!! i gave them my email and they sent over a subscription, i thanked them profusely. i was very grateful, very touched.

hours and hours later i was still thinking about it and i recalled how, in the email id gotten about it, it said "tao yang sent you a subscription" and id seen that and thought "oh haha like the tao yang" and then moved on

but now, thinking back, i was like.... theres no way, so i googled tao yang.

......

TAO YANG BOUGHT ME A FUCKING ANNUAL DROPOUT SUBSCRIPTION

[cringefail-clown]

been thinking about no-sburb/alternia escapees au

[alicenpai]

princess tutu: die jahreszeiten 🌸

kind of a companion piece to my 2022 ptutu drawing | it's on inprnt

this print was at anime north; next con is otakuthon!

oops so my hand slipped and i made another princess tutu drawing. i admittedly don't watch that much anime so my catalogue of work is gonna be the same 5 animes LMAO. what can i say, i love "dark" fairy tales, and i've been really enjoying the more fine art approach to a lot of my drawings as of late (and the watercolour brush i've been using has been so perfect for that...!)

as my first princess tutu drawing is now 2 years old, there are some areas i've grown to have ... qualms with... although both drawings as a whole are pretty much exactly what i envisioned, and that's always satisfying!

both of these were drawn in roughly a week's time (yes really...) for con crunch period (and i went back to this drawing after the con to touch up some areas that were a bit rough!). i wanted a different approach to this new pt drawing, with the focus on the line work, rather than on colours and lighting in the 2022 drawing.

this drawing had 2 goals: to continue the style i adopted in my witch hat atelier "lantern bearers" drawing (which i promise i'll post in full soon as soon as all of the zine artists get their go-ahead to post their pieces!), and to emulate the art nouveau movement's heavy emphasis on line work, albeit not a 1:1 style replication of course.

the seasons also aren't a 1:1 representation, as i didn't necessarily pick flowers or colours that are most strongly associated with the season (e.g. summer being a dark tone is a bold choice?). but it's kinda whatever, as i said before i drew this in a week, there may be more appropriate flowers with better meanings. i couldn't spend too too much time drafting and researching.

FLOWER SYMBOLISM:

- spring: apple blossoms, tulips - the apple blossom is a quintessential spring flower, and thus symbolize the arrival of spring. spring is a season of change, which ahiru/princess tutu is a force of, instigating change in her friends and unravelling the story around her. the flowers below her are tulips, and there are many meanings to tulips depending on the colour, due to their ubiquitous nature. i narrowed on one, and intended for them to symbolize happiness. princess tutu's pose is one in which that is open, inviting, and warm - reflecting her nurturing nature in the series, and her willingness to help others achieve happiness.

- summer: deadly nightshade flower, yellow rose - i chose for rue/princess kraehe to symbolize a fiery summer's night instead of the typical dazzling heat of a summer's day, a rather bold and unusual choice. the warmth of sunshine didn't quite fit, as the character is quite dramatic and passionate, with her intentions often hidden in shadow. next, the deadly nightshade - atropa belladonna - has a lot of mythological associations, a lot to do with poisoning, as the flower is toxic. the flowers bloom at night (another reason why i picked a nighttime backdrop for "summer") and also outwardly match rue's dark design scheme, as the cherry on top. yellow roses, at the bottom of her frame, are the archetypal flower depicting jealousy (as with many yellow flowers are), and at one point in the story, rue only wished for her own happiness at the misfortune of others.

- autumn: douglas fir needles, orange calla lily - autumn is another season of change - although much more tumultuous, as this season is traditionally taken to prepare for a long winter ahead - fitting for fakir as the role of the storyteller. the douglas fir is not a flower of course, but is a tree - with many different parts of this tree offering many benefits in advance of the winter season. i wanted the versatile nature of the douglas fir to reflect on fakir's dependable personality. next up, the calla lily is a flower with a dual meaning - on one hand you have life, on the other you have death. a storyteller quite literally can grant both at the tip of their fingers.

- winter: birch tree, snowdrop - winter is a rather still and unchanging season, a lull in the passage of time. this symbolizes mytho's passive nature at the start of the series, especially with his doleful pose here, as if almost in hibernation. to contrast, mytho is perched on the branches of a birch tree, which means new beginnings and renewal - as mytho is one of the characters that undergo the most change throughout the series (i'd argue the most?), regaining pieces of his heart. under mytho's frame is the snowdrop flower - and if you've read my witch hat atelier: seasons piece symbolisms, one of the snowdrop's meanings is rebirth, with connotations to the bible, bringing hope, when all had forsaken eve. the snowdrop is one of the first flowers to bloom even when the snow has not yet fully melted, further echoing mytho as an analogy for rebirth.

[starhoodies]

A Dream Drop Distance inspired scenario in which "Sora", actually asleep on his own heart station and plagued by nightmares, transforms into a Darkside. Riku, once again, descends to break the curse so that Sora may continue his slumber in peace.

[fishsinsareacknowledged]

König who comes back from being 'KIA' just a bit...off. Hollow eyes used to be staring at you now they stare through you, facing somewhere distant before he pulls you close. Spine never slouched nor bent anymore, just pulling you close and forcing your head on cold skin.

Sure it's not always, sometimes its like those blue eyes never turned grey, never seen death and reincarnated as something wrong. Or maybe this man you held dearly in your heart was always wrong, and you knew it too. Like life was never meant to be with yet forced until it knew death from its arms and by its arms it rejected. Far too unnatural for death.

You weep and sob for a being who never left. Has always been in your life, just finding a way back to you bit by bit, piece of flesh by piece. Yours, that was all that is.

Standing obediently at your feet, awaiting orders. Just a bit more mindless now in the safety of your room, too tired to think too tired to sleep. In fact you never see the soldier drowse anymore, never sleepy just constantly awake, what an existence.

"Schatz?", you've been staring at him for too long.

"Yes?"

"You've been staring at me", darker eyes than black have been staring at you for too long.

"Comfy?", trying to ignore your own thoughts while König nuzzles in your lap, nodding singularly and resting on your lap.

An inhuman purr emanating from a hidden throat as you cup where a cheek would be, scratching gently through the violent tremors that make up the sound.

"You've caught on haven't you?", and then you feel it. The purr slows down, it wasn't tremors, it was tentacles rummaging under your fingertips. Tiny, fast, and König's. Was it König?

"I'm still me Schatz.", it's always been König.

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