#or maybe there is and im not aware of it

[writesailingdreams]

Thinking about how I wish there was more mainstream talk about older animation (1920s to the 1950s) as works of art

[inkskinned]

the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.

capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.

now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.

and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.

and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.

and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".

it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"

[morrithal]

The thing about Wyll is that he Gets It. He knows the story. He knows the kind of man his father is and the kind of man he was supposed to be. He knew what Mizora was when he made the pact. He knew what it meant. And he was just a kid, and his city needed saving, so he did it, and he paid that price, and even knowing all of that he still tried to appeal to his father for understanding and forgiveness.

He sold his soul to do the right thing. And he was cast out. And he knew what character that should have made him.

He knows the story he's in, and every day he chooses who he wants to be instead.

[francy-sketches]

cringe ass family ❤

[limielle]

lov this event fit

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[artoutforblood]

Part 2 // First // Next // Bonus

[scruncheduppaper]

drew this bc because i hate sitting thru chapel

[flame-cat]

i love ford getting mad @ stan & accidentally triggering a flashback/bad memory recollection & that startling him enough for him to stop being angry

major wake up call. i love that man getting humbled

hmmmm yes i love it i'll take 20

bonus thing that happens Later

[pokeberry5]

I went looking for the panel of dick in a polka dot shirt and found Nightwing 1995—it was 4 issues, a hot mess, and extremely entertaining

bonus panel because it makes me laugh:

[shouts-into-the-void]

Just gonna say it:

A lot of AFTG fans' insistence on erasing Neil's demisexuality while shooting down any argument against it with "but it's my headcanon!1!" or "he shows attraction to women in the books!!" (he doesn't) while not doing this to any of the other characters with canon sexualities (Andrew, Nicky, Jean, Jeremy, Cat, Laila) is acephobic

Also in the book, because apparently some of you misread this bit, is that he kissed a couple girls while on the run and was not into it. Kissing people does not inherently signify attraction, and he pretty clearly says he found doing so awkward and uncomfortable until Andrew. He also clearly states he only had an interest in girls because he knew other guys his age were attracted to them and wanted to know what the hype was about.

Neil is confirmed to be demisexual by the author, and literally says in the books that he's not suddenly sexually or romantically attracted to other people just because he's attracted to Andrew (there is literally a whole scene about it).

Neil is not gay because he's attracted to a man, he's not bisexual because he's kissed both boys and girls. He's demisexual because he only experiences actual attraction for people he's formed a deep emotional bond with, and that just so happens to be a guy.

[mincedpeaches]

Commission I got at tfcon Orlando from Sara Pitre-Durocher of another IDW styled Heatwave ❤️

[lovesickeros]

☆ de fontaine

{☆} characters furina {☆} notes cult au, imposter au, drabble, gender neutral reader {☆} warnings angst, suicidal thoughts, hurt / no comfort {☆} word count 1.4k

This wasn't fair. This wasn't fair. This wasn't fair!

She thought, for one moment, she could put the mask down and breathe – for one moment of daydreaming, she thought she could just be Furina. She thought she would finally get to live the live she should've had in the first place, the life she threw away to play God to an audience who saw her as nothing but a circus animal, dancing to their whims. Furina just wanted to be selfish for one brief and fleeting moment..and it was gone before she could even grasp it in her hand. A comet soaring past far out of her reach.

She can barely keep her hands from violently shaking as she looks down at them – broken and bloody and more a corpse then a person – and she feels so numb she can't even feel the rain pelting against her back. None of this is fair, she wants to scream, why is it always me? But her voice is silent beneath the torrent of rain. She wonders if the ocean would take her if she sank into it's depths – just for a moment, she wonders how it would feel to finally be able to sleep at ease.

Furina is tired.

But Furina is nothing if not useful, isn't she?

So she forces her feet to move, dragging against the stone beneath her heels, and drags their bloodied body into the nearest empty building, letting the rain do the work of washing away the smeared blood following her path. The smell makes her feel sick, the feeling of it sticking to her hands and gloves makes her lightheaded, but she persists. Because Furina is useful, because Furina won't let them die out in the rain, because Furina won't stand by and just let them rot on the streets like some..pest.

Furina wants to go home. She wants to sleep and she isn't she if she wants to wake up, this time. But she keeps going anyway.

Because it's all she's ever done, and the habit sticks.

An Archon she may not be, not anymore, but the expectations of five hundred years still linger like eyes on the inside of her skull. They watch her, pry and prod at her thoughts, mocking laughter and judging eyes following her as she forces herself to dance to the song they weave with glee. Furina never stepped off that stage – she's still there, she thinks, watching the crowd stare at her in disdain as the curtain call looms above her like a guillotine. She still hears Neuvillette deliver her damnation and salvation with a trembling voice, still feels her hair stand on end when electro crackled like the crack of the whip, Clorinde's blade aimed at her like a loaded gun.

She's trapped on that stage and she never left, not really.

She hates it. She thinks she hates them, but it's not their fault. They didn't ask for this, didn't ask for everyone to turn against them, didn't ask for her to save them. Neither did she..yet here they are, she thinks.

She tries to tell herself she's in control this time, though. She can stop performing her part in this horrible, bloody play any time she wants. It makes her feel better, just for a little while, if she convinces herself she's still Furina, painfully human.

And Furina has always been good at lying.

It's the believing that's the hard part.

There isn't time for her to wallow in her own self pity, though. They're still bleeding out onto the dusty, creaky floorboards of some random, broken down house and she's just standing there as the blood stains the wood. She can fix it – she's good at fixing things. She's done nothing but fix things – try to, anyway – for five hundred years. She can fix a little wound, how hard could it be? Her hands are clenched so tight they ache as she kneels down, wincing at the creak of the floorboards beneath her heels– she hesitates just long enough to wonder if she's making a mistake before she peels away just enough of the outer layer of their clothes to see the deep, bloody gash across their chest. She tries not to think about it – it's deep, too deep, and she feels dizzy just looking at it, but she's handled worse, right?

Furina can fix it. That's what she's good at.

She doesn't feel so confident when she tries to wrack her brain for..something. Five hundred years, and a little wound stumps her? No, she had to have learned something, right? She's decidedly not trying to buy time because she's panicking, parsing through hundreds of years of memories like flipping through a book. Furina isn't made for this, not really – she's running on nothing but adrenaline and she's really not sure what she's doing, but she's trying. And just like before, it won't be enough, will it?

She'll fall short again – she'll be too late to fix it before she's alone again.

Furina was an Archon..used to be. What use would she have for that sort of knowledge? Which makes her predicament all the more harrowing and bleak. What was she supposed to do?

Furina had heard it first hand, that vitriol in Neuvillette's voice. She isn't sure she's ever heard him that..angry before. She's not sure he would listen to her if she tried, either. And that scares her more then anything. All of Fontaine was up in arms about this..imposter, yet here she was, staring down at them bleeding out in front of her, and she was trying to save them.

Why? Why is she throwing away her only chance at normalcy for a fraud? Why didn't she just turn them in?

They were dying – that should've been a good thing, shouldn't it? So why didn't it feel like it?

"Why you?" Her voice breaks as she speaks in harsh tones, grabbing the front of their shirt in trembling, bloodied hands. "Why now?" She wants to scream, to demand answers they can't give, to claw back the reprieve she was promised after five hundred years of agony..and all she can do is sob into their chest, pleading for an answer that will not come. "Why me?"

Silence is their answer, and it hangs heavy on her trembling shoulders as she cries.

Of course they don't, she thinks bitterly, no one has ever answered her pleas spoken in hushed sobs. Not her other self and certainly not them.

Furina has always been alone. Furina will always be alone.

Because Furina never left that stage, never left that moment when she looked at herself in the mirror and took up a mantle too heavy for her to bear. She always finds her way back eventually. There's no one on the other side anymore – she stands alone on a stage, waiting for an inevitable end she isn't sure will come.

"Please," She pleads through tears and choked sobs, clinging to them like they are all that keeps her from sinking. "Please don't leave me, too." The words burn on her tongue – how pathetic is she that she craves companionship from the bloodied body of the imposter? Perhaps she's truly lost her mind after all these years..perhaps she's finally gone mad. She must have.

But their presence is like the first feeling of gentle warmth upon her skin as the sun crests the horizon, like the gentle lap of tides along her heels, the sway of branches and leaves as the wind blows through them like an instrument all it's own. They are the soothing sound of rain against the window as she watches the dreary skies in fond longing, the first bloom of spring as color blooms upon the landscape like paint had been spilled across the hills and valleys.

They are like the faint spark she carefully nurtures and stokes, so fragile even the smallest wind could blow it out like a candle. She cradles it within her palms, pleads with whoever will listen – prays that someone finally listens, because if not for her, then for them.

She's failed to protect too much already, let too many people with so much trust in her fall between the cracks of her fingers like grains of sand. She won't let them go – she can't.

If nothing else, if she couldn't be saved when she begged for salvation from that five hundred year long agony, even if she never got that chance..

Furina will make sure they do.

[phatcatphergus]

I was thinking about how Tubbo keeps his rose in his backpack versus how he always kept his funeral flower in his offhand. I wasn't sure why he wouldn't want to keep the flower that Fred gave him in his offhand because surely that one would mean more, right?

I actually think it's a symbol of Tubbo's depression and how he hides it. When he had the funeral flower in his hand, he was sad and didn't really try to hide it. He didn't shower, he was incredibly reckless, and purposefully hurt himself multiple times. That flower was out where others could see, much like his emotions and mental state at the time.

The rose is different. The rose is hidden away and kept safe. Tubbo is seemingly better, he's "showered", started being more mindful of his actions/surroundings, and isn't purposefully hurting himself. But he's still hurting and in a poor mental state that many of the eggs have called him out for. He is still experiencing depression but it's well hidden.

Tubbo kept the funeral flower out because he felt like he had a reason to display his mental state. he figured that if anyone asked and saw how badly he was doing, he had a reason to feel the way he did.

On the other hand, Tubbo doesn't really have a reason to keep feeling like he does after Fred returns. Fred isn't dead, so what is there to be upset about? He hides the rose. He doesn't want people to ask because he doesn't have a reason (in his mind) to still feel the way he does.

Both flowers directly represent how he handles and shows his mental health to others on the island. The funeral flower was out for everyone to see and the rose is only known to exist by a select few people.

[muffypollz]

ASHEDUE THE KISS REDRAW I LOVE YAOI

[kkoct-ik]

PLEASE explain ur shin DID thoughts I wanna know so bad

boy am i glad you asked (LONG POST)

prefacing by saying the sou DID headcanon is very special to me to the point that i talk about it as if it is canon. i know it is not canon. i'm not arguing that this is what these moments mean, i'm arguing this is an interpretation that i really enjoy, and this interpretation of sou's character speaks to the DID experience Unnervingly well.

i use sou & shin interchangebly, they are parts of the same person, but generally i say sou for during the death game and shin for before.

so. first.

the important bit — sou's dissociation from shin tsukimi

during his first trial, shin tsukimi is given the winning percentages. there he learns that 'shin tsukimi' cannot survive the death game.

to escape shin tsukimi's weakness and inevitable death, shin abandons him, and instead takes on the name and certain characteristics of midori, to build a new self — sou hiyori. he disowns his identity as shin tsukimi to psychologically escape from his fate, so that he can psychologically survive in this moment and keep living.

a part of DID is the repression and disowning of the weak and hurting parts of you, and in turn outwardly becoming & functioning as someone or something else that can survive.

sou very literally dissociates from the weak parts of his identity and becomes & functions as someone else to survive.

and that's the absolute basis of the headcanon. turn back now if you want to. the rest is me slowly losing my sanity.

me slowly losing my sanity

so. listen. here's the thing. theres a lot more in sous behaviour that you could interpret as DID if you know where to look.

it's not quite as simple as "there are two of him: shin tsukimi (who was weak, easily manipulated, and incredibly scared) and sou hiyori (who is not that)". there are quite a few more moving parts to this guy, and also a lot of grey areas where his identity breaks down and develops over the course of the game.

the sou we first meet is timid, but not particularly vulnerable: polite, but observant. you get the vibe he is silently taking note of everything you do, because he is. during the first main game, he takes control of the discussion by claiming to be the Keymaster, both securing his survival, and giving himself a level of control over the discussions.

when the information he found on the laptop and his attempts to throw suspicion on Sara causes everyone to doubt him, he begins to panic. he brings up the moment Nao hit him - something that must have been triggering to him, considering what defines 'sou hiyori' is that he is not weak like shin tsukimi is.

i like to think in this moment a subconcious part of him realises that the present sou hiyori is not removed enough from shin tsukimi to be free of danger. despite his distance, he's weak enough to be attacked - he could have been killed, and now he's at the mercy of the masses.

his protective parts and mechanisms need to kick in at 200%. so they do.

under the pressure sou snaps and goes into a a very aggressive protector part. sou projects outwards his vulnerability complex, calling everybody else 'weaklings' who are going to die (reinforcing his dissociation from shin tsukimi). he suddenly openly rejects the value of trust and human cooperation, in an attempt to make himself seem untouchable and entirely in control.

section: sou's protector part

i love this guy so i marked out a section just to break down his protective mechanisms. this is a direct continuation from the paragraph i just ended.

after his first instance in the first main game, sou's protector part (easily spotted by his fucking mastermind persona) appears multiple times to cover up moments of vulnerability. it makes him out to be a liar, but it also makes him seem incredibly calculating and dangerous, which works just fine for him.

during the token trade game, sou 'fakes' amnesia to avoid being singled out for his actions during the first main game. he reverts back to his polite & timid demeanour for a portion of the chapter, and also sleeps for a large portion of it (due to his sickness). but to allow himself this leeway (either to play up or let slip his weakness) he employs protective mechanisms: he enthusiastically tells Sara that his memory loss was a lie, and that he's been playing them all for fools. he intentionally gives her the impression that every moment of weakness he has let slip or otherwise is part of an elaborate plot.

whether this is purely for the sake of managing how the person he fears most percieves him, or because in this part he is genuinely so disconnected from his vulnerable parts and weakness that he refuses to acknowledge it was real, is up to interpretation to me. but i do love how many layers of lies and contradiction he symbolises.

(i choose to believe his amnesia was a genuine moment of vulnerability, because the scene makes me So Happy if i read it as a vulnerable part slipping through the cracks, who's entirely disconnected from the stressful events of the main game and is genuinely terrified. i like to think his later claim it was a lie was because he could not risk Sara genuinely witnessing his repressed weakness that he swore he disowned at the door. but i digress)

he has a similar 'moment of weakness' during the second main game, where he makes it more explicit that he is not necessarily him telling the truth when he says his earlier weakness was a lie. he relies on other's confusion and the fact people think he is one step ahead of them to protect himself.

he continues to employ his mastermind persona even after the shin tsukimi reveal - although its effect is somewhat lost now that everybody knows that he has vulnerable parts (and people he loves) to protect, and that his persona exists for their sake, not because it's his true personality.

mfw when the ego protection mechanism crumbles because i was vulnerable once and now my protector part hates me.

section: shadow sou

i was going to immediately follow onto shinai and what we can learn from him, but i want to clarify shadow sou first.

the long and short of it is i think he's the closest thing we have to a midori introject. while you could argue sou hiyori has introjected traits (which he most certainly does: he takes his name for christ's sake), i think shadow sou most explicitly takes after him, especially if you read soushin as an emotionally abusive relationship.

(lingo: what is an introject? an introject is an alter who represents internalised traits and figures. for example, if you had a personality who treated you like your mother treated you, and reinforces the beliefs you internalised from her, that would be an introject of your mother. they do not have to be accurate to the real person's personality; they only echo how you saw and internalised them.)

shadow sou speaks with sou like an familiar but condescending friend, comments on sou no longer being shin, and exists to reinforce shin's feeling of weakness. midori encourages shin to become the person you want to be; shadow sou is the one to pressure shin into becoming someone else. midori is a 'scary friend' of shin's, shadow sou physically frightens and attacks shin during his moment of panic.

as far as we know, we never meet shadow sou from Sara's point of view, so i interpret him as a more internal alter. there's a lot to play off with sou's / shin's / shadow sou's relationship: i think they are soooo cute. i just wanted to point out the similarities between him and midori.

section: shinaiiiiiiii: what can he tell us?

ok yaay onto shinai. although not strictly a version of sou (not his repressed weak personality, not his polite but wary personality, not his masterminding ego protection personality, and not his internal shadow self), because he is a computer program, he does give us a certain perspective on who sou used to be.

disclaimer: we know shinai was trained by midori's love poetry, and thus you can argue his personality could be slightly altered to be more suited to midori's purposes. for the sake of this section we will take things with a grain of salt: it's what shinai can suggest about shin, not tell.

shinai gives us the impression that shin tsukimi was polite, had somewhat low self esteem, and was conflicted on midori: on one hand, he scared him a lot, but on the other, he considered him close, and they spent a lot of time together.

during the maple boss fight, shinai sobs for midori to help him. i get the impression that despite being afraid of him, shin still relied on midori for security and reassurance (sou's lantern dialogue to corroborate).

my friend suggested that shinai's / sou's conflicting accounts (with part of him being afraid of midori, and the other seeking assurance from him) could in itself imply that shin (even before the game even began) is made up of two alters with opposing attachment styles. i dont disagree.

sou vs the shinai test data

this one will be short i promise.

i really like sou's morbid interest in the shinai test data. and i know the joke is that it's love poetry and sou is embarassed and repulsed by how midori saw him, especially now that he knows how cruel midori can be, but the scene also spoke to me as a dissociative person; there is nothing more viscerally uncomfortable than learning about things you did as a different personality. it messes with your brain, because it was you, but it also wasn't you - it can't be you, you don't remember it, and it's not the kind of thing you would do, but you did - and so your dissociative rejection signals go absolutely insane. so i like this tiny scene for personal reasons.

and thatse it (i think). i think i said it all.

tl;dr:

this is my headcanon :33 or well. a graphic i made a few months ago as i was solidifying the headcanon. some minor things ive changed my opinion on / perception of since but it gets the idea across.

that said i fully support any other interpreted sou hiyori systems. go fuckin wild. i spoke to a friend a bit ago about their personal DID sou take and i had so much fun.

thank you for hearing me out