#makes me want to kill things

[creature-once-removed]

.

[mythicalcoolkid]

You don't wish your disability was worse or more visible, you wish your disability was taken seriously. Please stop confusing the two, I guarantee you would not get the support you need JUST by being more severe or more visible. Please listen to visibly disabled people when we tell you it isn't better on our side

[hinamie]

unconditionally

[spoopdeedoop]

king and harbinger, old and young

[daisybell-on-a-carousel]

Being someone who read Under The Red Hood and came out with the firm belief that, for Jason, it's not about killing Joker, it's about Jason wanting proof Batman would choose him over the Joker (bc shelia chose the joker). Makes seeing any other media where it's all about just wanting the Joker dead is a teeny bit frustrating. to be honest

Jason could've killed the Joker himself, really, really easily. Jason kidnaps the Joker before the confrontation. I can't open my comic for a reference right now, but it felt like he had the Joker for quite a bit before the confrontation. He had him. He beat him up with a crowbar. He had every single opportunity to kill the Joker himself, but he didn't because that wasn't his goal. Make no mistake, he did plan for the Joker to be dead by the end of it, but do you see what im trying to say here

Edit: If I knew this post was gonna get 1000+ notes I would've tried to word it better or something, this was a rant I made on the way to the grocery store 😭

It's not about making Batman kill either. When Batman says he won't kill, Jason adjusts and goes, 'Let ME kill the Joker or kill me to stop me' instead. The test is all about Batman choosing him. The whole final confrontation is Jason's first death again. The parent, The Joker, and the explosives. It even ends with Jason unable to move as a bomb goes off right next to him again because the parent didn't choose Jason. And instead tried finding an option that'd benefit them and (consequencely) letting the Joker walk, again, lol, lmao <-in agony

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[lilybug-02]

Pain is a great motivator…

Part 26 || First || Previous || Next

—Full Series—

Meanwhile Toriel:

(Loud noises don't wake her up usually.)

Artist note: I’m so proud of this :))) I know it’s a lot of dialogue and reading, but dialogue is grueling work for me. I’m glad with the art and for the amount of pages I made in such a relatively short time span -w- page 5 was super fun to work on. A lot of blood, sweat, and hours here... :) The backgrounds were a big bore tbh, but I finished them! Yippie!

[poorly-drawn-mdzs]

Happy Birthday to Fallen London; My favourite British people beefing it with bats simulator.

[umblrspectrum]

hi heres art so you pay attention to me now go read the tags

[aria-greenhoodie]

I fucking HATE them.

Click for Quality!

[choccy-milky]

seb vs. clora's Childhood Friend™️ 😇🥰 ((from my new chap! ao3/wattpad))

[lunar-wandering]

"yandere evil cycle Clara" this "yandere evil cycle Clara" that, yes i agree, its drawn very well and is very Aesthetic and im so excited to see where this is going but i have a Question-

why is Iruma blushing through most of this chapter-

either Clara's subtly put a charm spell on him (though wouldn't it affect Azz too in that case?) or, he's somehow kinda into this.

i know the first option is more likely but the idea of Iruma thinking the evil cycles are hot is so fucking funny. could you imagine.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[justaz]

merlin (immortal) giving arthur (pendragon) the only blade that could kill him

[s0fter-sin]

cw mild horror

johnny moves into a new house with his dog riley after his last relationship implodes

it's on the older side, a fixer upper; a project he can lose himself in so he doesn't have to let himself think of how his ex used him up just to toss him aside. the backyard's huge with a cluster of trees ringing the property that look beautiful in the sunset. it even has a basement, rarely seen in the uk, that's perfect to store all the supplies he'll need to fix the place up

the only downside is how far away it is from everything; it takes a good hour to drive to anything

but johnny has riley and that's all he needs

he talks to him as he works on the place; promises a new start for them both, that this could be the place they always needed. sure it's old and the groans and scratches that occasionally come from the walls can be a bit unsettling and the smell coming from the dumbwaiter is… concerning but johnny needs this place to work; he needs something to go right and be his and if that thing is a slightly creepy house then so be it

it was a steal; he still can't believe how cheap he got it considering the size of the block but the realtor seemed all too happy to be rid of it. she couldn’t tell him much about the place beyond the size of the land and that it only belonged to two people since it was built; the original owner who built it before it went abandoned for a decade or so until it was bought by a young couple who owned it for over thirty years

he asked about the couple, if they were happy in the long years they lived here, but she just said it wasn’t her place to say. johnny just shrugged; guess confidentiality extends beyond doctors these days

riley sticks by his side as he evaluates the house, figuring out what needs to be done and what to prioritise. he gives himself a week to wallow, living out of boxes with battery powered lanterns to light his - admittedly dismal - dinners before he gets to work. he decides to start with the wiring and old electricity box in the basement. riley occasionally gets distracted by some smell in the old vents but always coming back when johnny starts talking again

it's late by the time he gets the lights to finally stay on so he decides to shower in his newly lit bathroom and turn in

he's laying in bed, hair still wet, when he hears the scratch of riley's nails on the floorboards and sighs, swinging an arm down the side of the bed for pets if riley wants them; wiggling them in invitation when feels his breath on his fingers

"am i doing the right thing?" he asks him. "just- up and leavin'? i don't miss him. i don't... but... should i have tried to make it right 'stead of runnin' with my tail between my legs?"

riley's breaths are all that answer him

then he remembers his ex's apathetic face when he walked in on him in their living room; when he looked him right in the eyes and didn't even bother to stop his moans or hide the legs slung around his waist

"that shouldn't be on me," he growls. "he's the one who decided to nail that goddamn tart- i shouldn't be the one to have to fix shit. he should've been the one on his knees beggin' me to stay."

and he did beg- begged him not to sell the flat he owned and already paid off, the one his ex never spent a dime on rent on yet still had the audacity to ask to stay until he found a new place to fuck his side piece in

"just... why didn't he try?" he whispers. "...why wasn't i enough?"

johnny flinches as riley's tongue laps at his fingers, thick and wet and gross, and he huffs a laugh. "you're right," he smiles. "we're better off without him. just you and me, aye boy?"

he doesn't stop licking and johhny laughs again, pulling his hand back to wipe off on the sheets

"nasty boy," he chuckles. "least you love me."

a whine comes from the bedroom door and johnny frowns, looking over as the door swayed open; he thought he treated those hinges already, the sound was driving him nuts

bloody old place, he groans, sitting up-

and freezes when riley cocks his head at him from the doorway

johnny's throat constricts, ice flooding his system while the warm, wet saliva still on his hand burns. his neck protests as he slowly turns to his left, his quickening breaths roaring in his ears; everything in him begging him to not to look-

and screams when he sees a pair of brown eyes and wet lips spread in a wild grin before the man throws himself back into the vent in the wall

the same scratching and groaning johnny’s heard since the day he moved in following him as he crawls somewhere inside the house

[lilydvoratrelundar]

Jane Doe's backup dancing skills <3