#like... no mercy girl
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kimvvantae · 1 year ago
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honestly if i were to rewrite umbra it'd be such a different story. i'd make OC kill the king and everyone else like wtf bitch these people enslaved you and your people and tortured you since you were a kid. no trying to be the bigger person just straight up revenge
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main take aways from Halloween (1978) rewatch:
michael myers is canonically 21??? this bitch should be at the club
*sees tiddies* ***MURDEROUS RAMPAGE NOISES***
that's it that's the movie
outside of the fact that everyone who has sex is murdered by the narrative, this is a surprisingly chill portrayal of female sexuality? these teen girls are horny and actively enjoying Getting It On with their boytoys. no pushy boyfriends sneaking in through their bedroom windows--these ladies are taking the initiative to sneak out and GET SOME. one of them gets laid and then immediately orders her boyfriend to get her a beer. (yes she gets Slashered soon afterward, but so does the boyfriend so honestly, gender equality.) yes the Final Girl is the only one not having sex, but she's not bullied for that, nor are her friends slut shamed except possibly by being murdered by the narrative
actually the only character who is shown being morally condemned on-screen is michael myers. specifically FOR his violent overreaction to other people's sex lives. (people he is spying on). metaphorically, the villain is American Puritanism sticking its judgy nose into other people's business.
aka Michael Myers Is A Republican
but actually the real villain is the doctor. guy's a judgemental, shaming, pathologizing asshole. and he's been in charge of michael's care since he was SIX YEARS OLD? kid never had a chance. i'd go on a killing spree too
also the parents. where are the parents? it's halloween night and all the teenage girls are home babysitting their younger siblings? come to think of it, michael's first victim was his own older sister, whom he killed while she was babysitting him. teen girls are really shouldering a labour burden here. maybe parentification is the true villain
side note: mike commits his first murder wearing a clown costume...which is never referenced again? his 'iconic' costume is a generic mask and wig and jumpsuit, when we coulda had a Killer Clown Michael Myers??? travesty
i like how the Final Girl and her friend casually smoke weed in her car. yeah she's an honor student and her friend is the sheriff's daughter. yeah they smoke weed. so what it's 1978
(to reiterate, mike is 21 and should be at the club. im not saying he shouldn't be rampaging, im saying it's sad that he broke out, tasted freedom for the first time in his life, and immediately snuck back into his childhood home to go rampaging. let's have a remake where he goes to a nightclub and has a few beers. maybe some slutty dancing. then rampage)
oh no he's hot
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#HALLOWEEN#halloween the movie#michael myers#do you think he's a mike? mikey? to his friends? if slashers had friends?#i'll be honest i was expecting this movie to be way more of a bitch to its female characters#i mean yeah they died but so did some dudes#there's just a lack of cattiness compared to the way most later movies portrayed teenage girls idk#yeah the Final Girl is a Virgin and a Bookworm. but there's no bullying or any strong sense that's she's morally superior to everyone else#mostly she AND the other girls feel a bit sorry for her lack of a social life. one even tries to set her up with a date to the school dance#solidarity! trying to get your nerd friend laid!#overall it's just teenagers being teenagers and then a slasher comes in and ruins everything with his Lack Of Chill#like yeah dude sometimes teenagers have sex. get over it#also something to be said about how while the girl who survives is the one who isn't sexually active and dresses conservatively...#ultimately those things aren't ENOUGH to prevent her from being targeted#you could say that the other girls 'provoked' the villain (the same way women irl are so often accused of provoking their attackers)#but ultimately that doesn't keep the Final Girl safe. it just delays the inevitable.#because violent men never need excuses. no matter how eager society is to provide them.#ultimately she is at the mercy of the same violent whims because it was never her behavior that invited the violence.#gendered violence doesn't need an invitation.#also she doesn't save herself the doctor saves her#it's not her actions or choices that put her in danger OR save her from it--once again it is the whim of a man#no this wasn't intended to be a feminist movie it's just fun how you could argue it that way
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zytes · 2 months ago
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b-sides
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amadryas · 2 months ago
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"Persephone is scary" Dionysus made mothers kill their own sons. Aphrodite cursed children to lust after their parents.
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mleprae · 6 days ago
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ive been reading on how hugs/cuddles and other form of skin to skin contact can aid to some relief of leprosy symptoms and my hand slipped. no aseprite didnt let me finish this one either
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joeshmo-0 · 3 months ago
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Ax animorphs… save me ax animorphs
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thatneoncrisis · 4 months ago
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about the kind-of-sort-of accidental racism in the books: it is so goddamn unfortunate that of the only two middle eastern main characters, one of them exploded and the other burst into flames. plus they’re from a planet where everyone is everyone else’s cousin. tazmuir did a good thing including so many poc in her books but oh my god these things take about 3 seconds to think about
tamsyn has this. really puzzling approach to race. i understand why everyone is kiwi its like crucial to whats going on in the story and johns mindset. and then she goes out of her way to specify everyones exact race in her description post. and its not that this isnt helpful for visualization but its like. this is a society 10000 years in the future. race as its conceived of now wouldnt fucking exist.
how is isaac still chinese after that much time. how are people reproducing with this exact kind of division that allows her to discern that this person is tongan but this person is mixed maori, as if they arent all mixed. it feels so specific that it would be relevant, but it literally just isnt. theyre jsut how she saw the characters, which is one things but they cant. literally be those things anymore. she doesnt find race really relevant to most of her characters which kind of leads to shit that doesnt make sense or is in poor taste. if the houses were divided racially over time and they happened to resemble x group for taz to call them that then cool, that could have interesting implications for how isolated they are. but abigail is white and magnus isnt. isaac is nz chinese and jeannemary isnt. dulcinea is white and pro isnt. i always think about it
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dykedvonte · 13 days ago
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Can you talk about trans!Curly a little bit more? I'm curios if you have any headcanons and the like
-💀
It's just such a thing in my mind because it adds a truthful sadness and differing aspect to mouthwashing.
If Curly was trans it adds the horror of the horribly selfish thought he could have easily been in Anya's situation. It could've been him but it wasn't and he so conflicted on the pit it put in his stomach that brings and the shameful relief it wasn't. In this scenario he is friends with Jimmy for a long time still. Jimmy likely knew him pretransition. Maybe he gave Curly weird looks then, maybe they never stopped after, maybe they seemed meaner. They are guys now, bros, both of them are. He doesn't really have to worry what those looks mean anymore, Jimmy just has that face with him sometimes. It's recontextualizing a lot of things for him that he was in denial about or too ashamed to admit. How naive he was being and how he let that get another person hurt.
Specifically with Anya, it's he knows the dread and fear she's feeling. He can understand it because he had to live with it for a good portion of his life, he knows it cause he still does, just in a slightly different way. It makes him think of all the times he's been alone with Jimmy, all the times he's been way more drunk off his ass and not remember the night, Jimmy was always with him the next day. Makes him think of the comments he would laugh off both because that's what guys do but because that part of being a girl says to laugh so Jimmy doesn't do something. It's the selfish realization that he was never safe and he's uncertain now too. Mad at himself for forgeting that feeling, espcially since for a long time he would've been considered the only woman on a crew (with all that implies) for a long time.
He should've taken those blinders off, step back into that position for just a moment and it's so much more painful that Anya likely came to him because he should've gotten it. Those thoughts don't leave his mind after the crash when he's in an even more vulnerable position than she was...
#this is less headcanons and more my thoughts of the intersectional horror this brings to mouthwashing which is also a thing it#already has but more directly in the mix vs just the class gender and positional struggle. like the idea he waited to confront Jimmy becaus#he could conceptualize the crime better because of experience with womanhood and also how it would've destroyed him in terms of being trans#like its weird to word as a comparison but thats kinda how empathy works as in an understanding and ability to project through aspects#like you found out your friend who has always had weird feelings about and relating to you is a rapist and got one of your other friend#pregnant and is now being openly hostile and aggressive towards you. You have only a few days to really think on all of this all the years#with him and how many oppurtunites he had that you blame yourself for giving him both in life and to do to you. You are starting to#realize that he may have done what he did to Anya because it was no longer viable with him or because of weird transphobia/homophobia#from Jimmy and god its so much and he should've know better and what did Jimmy do then - c r a s h#he is at such a small amount of mercy to Jimmy now and he can't protect Anya and it's terrifying because i know and you know that Jimmy is#giving him those weird looks again...#like it adds another layer of horror to things and while I don't think Jimmy would do anything to Curly it's heavily implied he targeted he#because of relatively more important position and getting Curly to have doubts about him as a power play and Curly knows Jimmy well enough#that him immediately exerting his authority and power would set him off after already having been mad about it and even when doing#damage control it still set him off. like its the horror of accidenlty siding with your oppresser and hurting other like you only to then b#stabbed in the back again by the person who took advantage of your nature like its so complext but my actual trans curly headcanons#are just a little bit happier like i imagine he was the first on the boys soccer team and a star player. maybe he and jimmy even picked ou#his first offical “boy” clothes and Jimmy picked most so he looked like the grungiest white boy but she was a boy so it didn't matter cause#it was with his friend who accepted him and I bet on the bed he looks back at all those moments and notices the little details that his#friend wasnt actually so happy but he can't be certain when he started looking so bitter or hes just imagining out of paranoia cause he jus#cant know and even if he could he wouldn't want to ask like god thinking about Anya and probably being a little glad if not heartbroken#that she did get out of it in the end like trans curly and anya destroy me even more its so upsetting like he didn't realize how much he go#you girl and waited to act like it was cowardice but then would she not realize what hes realizing? should that be a grace or more of a#condemnation in her mind like what are her thoughts? espically during the scene Jimmy hits Curly like she had to hear and what did she thin#they are tormented in a similar hells with the same demon and its fascinating#mouthwashing#mouthwashing game#anya mouthwashing#curly mouthwashing#jimmy mouthwashing
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awsok · 4 months ago
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something something pike's desperation to redeem percy and sarenrae's desperation to redeem asmodeus...
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solarfalling · 3 months ago
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Hedwyn made everyone hot chocolate
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eye-of-the-hawk · 9 months ago
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Poster Girl
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lovelesslittleloser · 5 months ago
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Hear me out— The Lamb is gay for Narinder. Our new goat friend is gay for Heket
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nyamcattt · 1 year ago
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i saw a tweet someone made once that said, "moira and mercy bring that divorced energy that makes everyone uncomfortable." and they were so right!! there's even this voice line between them and wrecking ball 😭
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neurunique · 1 month ago
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Ramattra & Mercy <3
more info on models and whatnot here (my deviant art)
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yandere-daydreams · 1 year ago
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I feel like public opinion of someone bringing their sex doll out and about is similar to a lot of stuff; fun and charming and cool when a rich person does it, weird and cringe and clingy when a poor person does it (like knowing multiple languages or laying around all day). bringing your sex doll to a nice way-too-expensive grocery store? how smart, using their android strength to carry around everything too fangly to sit in the cart. bringing your sex doll to plaid pantry? eugh, who know's where its been. u feel me. seeing your bosses Ei doing paperwork vs seeing your neighbors Childe taking care of their kids in the public park. it's dumb, but it's how a lot of people work.
just want to make it clear that i am not putting un-horny classism into my au. take your kazuha to the food pantry. make your itto carry you to your subsidized apartment on the sixth floor because the fucking elevator broke down again. go wild go crazy. we're literally just making shit up and i owe nothing to reality.
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shortnotsweet · 1 month ago
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QUIET ON THE OLD FRONTIER (excerpt from THE THRILLING AND NOT AT ALL REPETITIVE ADVENTURES OF CAPTAIN MAN AND KID DANGER: “A CHRONOLOGY OF ENTIRELY TRUE AND HEROIC EVENTS COINCIDING WITH THE END OF HISTORY”) [1] [2] [3] [4]
Well, you know how it goes down in Hollywood: the sun never sinks on the West Coast, and no one can ever die for real.
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[ Henry’s expression is frozen, part acceptance, part trepidation. A stallion stands in the forefront of the second panel, backlit by the stretch of desert and a yellow sun. The horse’s front leg is dotted with red; below, Ray is mid-grin with his arms outstretched, hands cut out of frame. The horse, mid-motion, flees toward the horizon. It won’t make it. ]
“I just can’t quit you,” is the kind of thing he would say, big hands outstretched to clasp the back of his neck or to fit over Henry’s windpipe like a noose. It’d be a bit, with a Southern drawl and eyes not quite meeting his, but there would be just enough substance that Henry could pause and think, Well. Maybe you should.
Somewhere underneath that ego is a person capable of letting go, of cutting their losses. Henry’s seen the Old Westerns in their grainy film and open desert, and knows the kind of look good men get in their eye when their horse buckles. It’s the same guarded expression he wore when Drex came barreling back in, looking like Henry might in a few years time—angry, bitter, and stuck in the same place after all those years. Drex came back on his own, but still holding the old reins. Maybe that’s a difference between Ray and the good man; when Henry breaks his leg, he gets benched and pulled from the field. He’ll be back out again the moment his femur mends because he won’t see the break for the escape it could be. A fracture is never just a fracture, and a boy is never just a boy.
A horse with a bum leg gets taken into the field. It can’t return because it never leaves. Oh, well. It was a good beast, a good ride while it lasted.
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PANEL NOTES:
The first chapter of the fic “bite your tongue” by ao3 user irregularsatanist (slavishtrust) motivated this significantly, although this is not explicitly lifted. I am obsessed with their mind! Every time I read and reread, my fingers get the itch to storyboard. Much to say, and more to come, surely. (I’m actually being so, so, so serious, the levity of their work is what incepted me into this hyperfixation and every version of the characters I have in my head is inadvertently colored by the blueprint of trauma, codependency, and exploitation in the aftermath of young adulthood that their continuity of portrayal has lain out. I’m not kidding I’m being so real about this rn)
Something about the Wild West motif is just really, really compelling to me: empty space, inherent isolation, man in nature, evocative of incoming change sweeping into the country and devastating those that lived before and in the now and yet still feeling stagnant in the hugeness of the land, and the kind of vulnerability that the wilderness digs out of you. There is no difference between the civilized and the uncivilized here. I don’t think I’m super subtle about it.
There is an anonymous mark on Henry’s neck in the top panel. It could be blood, a bruise, dirt or dust, inflicted or coincidental, etc.
Three instances of hands, or hands in omission: Ray’s hand gripping Henry, the implication of his hands extended outward/upward, and the hand holding the gun in the bottom right panel. In the former and latter, they are highlighted with yellow lines.
Henry does not reach back for Ray, but he doesn’t retreat, either.
Henry and Ray’s respective paneling colors differ.
The horse represents freedom & captivity, cyclical tenancies, dehumanization, and escape into the natural.
Here, Henry may even identify with the gun itself. Ray’s hand over his face + neck mirrors the grip over the firearm, and the line where flesh meets object (or, in this case, Henry) is highlighted by the same line work.
The horse envisioned is a wild one that was groomed into captivity and subsequently domesticated. In most ‘horse’ narratives, the struggle culminates in the question of freedom—or return to nature—as opposed to the human need to keep. By allowing a creature of nature, which was not born into civilization but rather introduced into it, to return to its motherland is a humanist act and therefore a rejection of corporate or urban conformity. The horse exists as an objectified commodity, one to be used or paraded. To relinquish the horse demonstrates more than love, arguably something more important: respect. To respect nature is to relinquish the grip of expansion.
I feel like this is the moment when Henry returns and they both reunite with one another after a period of time. Ray’s expression, while still ambiguous, is much easier to parse than Henry’s. Henry, of course, considers himself the defective horse, and weighs the three possible routes: escape (back) into the wild, to be taken into a field and shot (real Old Yeller style), or to be ridden again. Each carries their own merit and implication of autonomy.
The reality of each unfolding is still dependent on Ray: if he lets him go, if he decides Henry must be discarded, if he utilizes him still—or, if he is defective at all.
Ray’s problem isn’t that he’ll be tempted to shoot the horse, but instead that he wouldn’t. The good man takes the creature out of its misery if he can’t heal, house, and release it. This guy would rather have a bloody horse in his house until the end of time than admit he shouldn’t have had it in the first place. From Ray’s perspective, the reunion is best characterized as the return of the prodigal son. To Henry, this is more of an ego death in slow motion.
Ego Death: “The disappearance of an individual’s sense of self, or the removal of one’s perception of oneself as an entity separate from one’s social or physical environment.” (Britannica)
Prodigal Son: “…a man or boy who has left his family in order to do something that the family disapprove of and has now returned home feeling sorry for what he has done.” (Cambridge Dictionary)
The chapter title, “QUIET ON THE OLD FRONTIER” is a reference to All Quiet on the Western Front, the English title of Erich Maria Remarque’s 1929 novel about the traumatic aftermath of World War I. The term, “all quiet on the Western Front” is a colloquialism referring to a lack of progress, or stagnation. “Front” is interchanged with “frontier”, Americanizing the phrase to refer to the Old West and settlement. California, on the Western Coast of the U.S., is assumed to be in close proximity with the location of the narrative.
Of course, “I just can’t quit you” is the iconic dialogue between cowboys Jack and Ennis in Brokeback Mountain (2005), the epitome of the modern Western movie (based on a novel of the same name). Here, the context is not exactly the same, but still (uncomfortably) adjacent. Sometimes, quitting is good. It can help you grow up big and strong.
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