#lot commentary

[the-eclectic-wonderer]

The Barbie movie really said. Yes you will grow up and childhood wonder will vanish. Yes you will grow up and learn to hate yourself, your body, your awkwardness. Yes you will grow up and lose your confidence and certainty and sense of purpose. Yes you will grow up and the world will seem a bleaker, lonelier place every day, and society will seem bleaker and lonelier every day, and you won’t understand what went wrong in the span of just a few years, what took you from a happy and secure young girl to a sad, uncertain, scared grown woman.

And yet. You will learn to find beauty again. You will find joy in not having a purpose, in building a purpose for yourself. You will find beauty in connection, with the people and the world around you. You will learn to love signs of ageing as proof of a life well lived, of experience and happiness. You will take that little girl by the hand and tell her “I know, this isn’t what you thought it would be, but it’s real. Let me show you how beautiful it can be.”

[ashoss]

this idea wont leave my brain please help me !! YIPPEE HADES BATKIDS !!!

without the bg and text under the cut :))

asdhj probably gonna post like,, two at a time because thats ,, a lot,,,, of drawing ,,,,,,, so heres tim and jason! i think i got the hang of it more with jason lol

ALSO ALSO!!!

thank you to those who helped me with the titles for the batkids!! they were all really good :D (all on insta lol)

timothy: the tenured - thomson_at

[sealsdaily]

Today's Sea Lion Is: Listening Intently

[poorly-drawn-mdzs]

This wine tastes like pigs blood!

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[doodleswithangie]

THE ORIGINAL MYSTERY TWINS

[Image description: Fanart of Stan and Ford Pines from "Gravity Falls." Alt text is provided and copied below the cut. End ID]

Copied Alt Text

Image one: Three photos from when Stan and Ford as kids, teens, and adults respectively. The photos are digitally drawn and layered over a photograph of a real desk.

Image two: Photo of kid Stan and Ford on Stan's bed. Ford laughs at Stan acting out a story with their flashlight.

Image three: Polaroid captioned "Thumb War!" of teenage Stan and Ford at the beach. They're poised to play thumb war.

Image four: Photo of adult Stan and Ford on their Arctic adventure. Ford has an arm slung around Stan's shoulders. They're laughing and palling around.

End Copied Alt Text

[cubbihue]

Oh gosh poor guy wasn’t allowed into the human world as a fairy until now, yeah I’d expect seeing humans at his tiny size would freak him out. They aren’t even adults, imagine seeing Cosmo, Wanda, or Peri in their human forms…

(Also this is silly but I have to mention that “fairy” autocorrected to “fart” so at first I wrote “Oh gosh poor guy wasn’t allowed into the human world as a fart until now” lol)

Usually when Timmy saw a child, they were the same height as him!! But now they're much, much bigger. Not to worry!!! Timmy is very quick to adapt to his situation!

..Once he's deduced what sort of situation he's in, that is.

Bitties Series: [Start] > [Previous] > [Next]

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!

[inkskinned]

you have to go to work so you can pay for your doctor, who is not taking your insurance right now, and if you say i can't afford the doctor's you are told - get a better job. it is very sad that you are unwell, yes, but maybe you should have thought about that before not having a better job.

(where is the better job? who is giving out these better jobs? you are sick, you are hurting - how the hell are you supposed to be well enough for this better job?)

but you go to the doctor because you had the nerve to be hurt or sick or whatever else. and they tell you that it is because you have anxiety. you try your best. you are a self-advocate. you've done the reading (which sometimes pisses them off worse, honestly). you say it is actually adding to my anxiety, it is effecting my quality of life. so they say that you are fat. they say that all young people have this happen to them, isn't it a medical marvel! they say that you should eat more vegetables. they say that you probably just need to lose a little more weight, and that you are faking it for attention.

(what attention could this doctor possibly give? what validation? that's their fucking job, isn't it?)

there is always a hypochondriac, right. someone always tells you about a hypochondriac. or someone who is unnecessarily aggressive during the worst days of their life. or someone looking "for a quick fix". or some idiot who wasn't educated about how to properly care for themselves who just abandons their treatment. and again, the hypochondriac, the overly-cautious hysteric. these people don't deserve to be treated like humans (right), and since you might be one of these people, you also don't get treated like a human. because those people can really fuck with the system, you now have to pay for it. and besides. you're actually probably faking it.

(more often than not, you find a 2:1 ratio of these stories. for every "hypochondriac", there are 2 people who knew something was wrong, and yet nobody could fucking find it. the story often ends with pointless suffering. the story often ends with and now it's too late, and it's going to kill me.)

you are actually just making excuses. someone else got that procedure or that diagnosis and he's fine, you should be fine too. someone else said they watched a documentary about other inspirational people with your exact same condition, maybe you should be inspirational, too. you're just too morbid. your pain and your experience is probably just not statistically concerning. it is all self-reported anyway, and you're just being a baby.

(once, while sitting down in the middle of making coffee, you had the sudden, horrible thought - i could kill myself to make the pain stop. you had to call your best friend after that. had to pet your dog. had to cry about it in the shower. you won't, but that moment - god, fuck. the pain just goes on and on.)

you know someone who went in for routine surgery and said i still feel everything. they told her to just relax. it took her kicking and screaming before they figured out she wasn't lying - the anesthetic drip hadn't been working. you know someone who went in for severe migraines who was told drink water and lose weight. you know someone who was actively bleeding out and throwing up in the ER and was told you're just having a bad period.

in the ER there are always these little posters saying things like "don't wait! get checked today!" and you think about how often you do wait. how often the days spool out. you once waited a full week before seeing the doctor for what you thought was a sprained wrist. it had actually been broken - they had to rebreak it to set it.

but you go into the doctor. the problem you're having is immediate. the person behind the counter frowns and says we're not taking your insurance. you will be paying for this out-of-pocket.

they send you home with tylenol and a little health packet about weight loss or anxiety or attention deficit. on the front it has your birthday and diagnosis. you think about crying, and the words swim. it might as well say go fuck yourself. it might as well say you're a fucking idiot. it might as well say light your money on fire and lie down in it. and the entire fucking time - the problem persists.

it's okay. it's okay, it's just another thing, you think. it's just another thing i have to learn to live with.

[filibusterfrog]

How is Monty? When I see your art/photos of him it brightens my day

hes improving! we are managing longer and longer stints without the cone but i expect the plucking will remain an issue for quite some time if not the rest of his life. its ok because he is still delightful and i still love him

[lucabyte]

[ ] like a body my same size

+ textless alt

[victorian-nymph]

In honour of May 4th, I have a delivery of more questionable tweets

[hotrodmccoolgal]

And you wanted to dance So I asked you to dance But fear is in your soul Some people call it a one-night stand But we can call it paradise.

[poorly-drawn-mdzs]

Normal boy spotted.

[First] Prev <–-> Next

[iyohme]

and i know that you mean so well;

but i am not a vessel for your good intent!

("Tongues and Teeth," - The Crane Wives)

my serotonin got jetpack bursted into the stratosphere with this blurb by OP. Your brain is so juicy and moist and wrinkly OP. Godspeed. I'm not even into DC but the whole "Burnt out and neglected, and now a bunch of people driven by guilt guilt guilt want me back so they can feel less guilty?" just made the racoon in me rub its hands menacingly hoho

Just imagine not even living your best life; just a shadow in the lives of the illustrious Waynes, a ghost in a castle, visible only to the loyal servant and the occasional curious paparazzi who shrugs and looks away--after all, there was no mention of you in any occasion: must be the kid of in-house staff. How nice of Brucie Wayne to allow even the children of in-house staff the opportunity to study at such a high-end college! (The reporters chortle and snicker at your barely-passing marks, sighing at such a wasted opportunity. Oh well. And then they move on to the tabloid topic of the week, after the strutting socialites and the rich and the arrested Rogues.)

You gather things.

You gather pieces of a cracked dream, a single plastic teacup you had brought into the cavernous mansion the day you held Alfred's old, gnarled hand. Ears ringing and slippers still stained with your parent's blood as they were gunned down before your very eyes. You gather your things, what made you before you were "Wayne," so to say. Your mother's old cigarette box, smuggled from the crime scene, your one memento of the woman who you could not forget but never forgive.

A juxtaposition of love and hate, forever crucified. The image of the Virgin Mary inside the tin box seems to be a mockery of faith, across from her image lying cheap cigarettes.

You gather test papers, all barely passing and with more reds than blacks, and grind them up into strips with the shredder you had brought; just one time the black card Wayne had given you, and it left the bitterest, sourest aftertaste in your mouth. They burn so cozily on the school Bunsen burners, especially when sprayed with alcohol, immediately immolating like timelapse sparkler videos. You gather your name before the Incident, you cherish it, and you repeat the syllables in the dead of night, spilling past your mouth. Even if it was the name of a child-abusing monster, it was still yours, and it was still of use.

And use it, you would.

While they go and be a family, you work to begin yours.

You gather funds: it's easy to take on odd jobs when people do not suspect you. You tuck away that black card at the bottom of your study table drawers, forgotten there like scribbled-out pages of an essay, an unfinished drawing, and leftover candy wrappers. It's a bit-by-bit work, but you know the Waynes wouldn't even see it happening. Your brothers and sisters (an absurdly alien concept, as they don't even acknowledge you exist ninety-five percent of the time) are prodigies paraded around at every event. You are the unseen ghost flitting through their shadows.

Graduation comes and goes. It's laughably easy to falsify having lost your social security number and other documents--Gotham is that much of a shithole, you suppose. The man in the cowl notwithstanding. His efforts are admirable, but weak. Recidivism is common in this place, as if there were some sort of pull that incited the people in Gotham to cruelty, to madness.

It's absurdly Lovecraftian, in its own way.

You are not even living your best life, and yet you are free. Alfred knows; he always knows. If you are The Ghost, then the aged butler is a man one step between the doors of death, and he sees you every time you move. Your room is empty, and he raises an eyebrow at your satchel: all your items already stored elsewhere or given away.

("I suppose this was a long time coming, Little Master."

Tap tap tap. Footsteps on marble floors, setting sun.

You shrug. "Eh. The Waynes gave me a roof and education. It's all good."

You grunt. "Well, people change. Like you know, how kids being gifted stop being gifted when they grow older." You say, instead of 'Well, if a child doesn't get any praise or attention if they do good and probably even less if they were bad, why even bother?')

A pause. "Your academics were not so lackluster when you were younger."

You promise to try and stay in touch. (You crossed your fingers behind your back.) You leave, sunset on your face.

The nap you had in a dingy hotel with far too many odd stains and not enough locks you could put on was the soundest you've ever slept in years.

Freedom smells like summer air and the last rays of sun, followed by the cold blue hour.

It takes three months for an out-of-state college to accept you. It's far from Gotham. It has a dormitory. Excellent. While you were indeed a mediocre academic student, you had banked everything on band scholarships.

Who knew more than a hundred clarinet players had unclaimed scholarships yearly? Packing up your small life in bags, you take a train upwards to another state.

(Meanwhile, in Gotham, there is an odd sense of unease as Bruce Wayne stops by an inconspicuous door. It's relatively clean, as expected of his manor, but the worn out brass on the handle suggests that someone had lived there before. He opens the door. Steps in. A bed, a dresser, a study table. Bare bones.

The unease intensifies. But who?)

Someone had lived in here, yes.

[pucksandpower]

Happy belated Pride Month to Ralf Schumacher ❤️

[quipxotic]

Bell's Hells: [Shares opinions on a thing they disagree on.]

Ashton: [Joins the conversation and says something, probably angrily because hey, it's Ashton.]

A certain segment of the CR fandom: I just hate how he talks over everyone, trying to make every discussion about what he thinks or about his pain.

Bell's Hells: [Continues to share their opinions.]

Ashton: [Again joins the conversation to disagree.]

A certain segment of the CR fandom: I hate how he prevents the others from speaking!

Bell's Hells: [Continues to share their opinions unimpeded.]

Ashton: [Leaves the room because they're suffering from 2 points of exhaustion and a migraine and know they are prone to say something without filter and unnecessarily start a fight with their friends.]

A certain segment of CR fans: See! So selfish and self-absorbed! Has to swan off in a dramatic way just to keep the focus on himself!

Bell's Hells: [Continues having their discussion, absolutely not focused on Ashton at all because, you know, they're talking about the end of the world and maybe they understand what's going on with their friend.]

File under things that are a fandom problem not a story or a character problem, because Bell's Hells seem fine with Ashton as they are. You all do know that's it's fine to say you don't like a character, right? That is allowed. But then maybe realize that perhaps everything they do is not horrible, it's just that everything they do reminds you that a) they exist, and b) that you don't like them.