#physical concepts

[awyeahitssam]

Harry giggles. His limbs feel lighter than usual, almost as if bubbles are making them float a bit. He can still control them, but it's a vague, interesting sort of control. Fun.

Harry lets sleep take him. The world whirls around him in sparks of disorienting colours, and Harry watches with a broad smile. It should make him dizzy, but he feels in the middle of something fantastic—a watercolour painting come to life. It's brilliant. Elating.

It stops as suddenly as it starts. Voldemort stares at him from across a desk. "Harry Potter," he sounds almost surprised.

Harry blinks at him. He still feels light, like he is floating, but also distantly sad. "Are you okay?" he asks thoughtlessly.

Confusion masks itself behind anger. Voldemort masks everything behind anger. "Pardon?"

"I’d never felt as good as I did a moment ago," Harry confesses, drawing closer to the Dark Lord. Red eyes track him suspiciously. Harry's chest aches. "But now, looking at you… it makes me so sad."

Thoughtlessly, Harry reaches out, and Voldemort lets him. It’s how Harry knows this can’t be real. That it’s just a silly, drunken dream. Their fingers intertwine, though Voldemort’s hand remains stiff and cold in his gentle grip.

"Aren’t you lonely?" Harry wonders. "Is that yours I feel pressing in, or my own? Even without you," Harry smiles, crooked and small, brushing an irreverent thumb over his scar, "I’m sure it’d be there. People always isolate the freak."

Voldemort’s hand twitches in Harry’s, and he hums, focus dropping from red eyes to trace the long fingers with his own.

"Everybody’s frightened of you. You isolate yourself from friendship, from love, from time itself... don’t you want, Voldemort? I can feel that you do—you’re never satisfied, are you? Will it ever be enough? The world at your feet, no attachments, nobody to challenge you—is that your dream, or your nightmare?"

"You’re speaking nonsense, boy," Voldemort says, but it comes out odd. Stilted. "You presume much."

"Is it presumption when I feel you?" Harry asks genuinely, brows drawing together, hand lifting to press over his heart. Voldemort is dragged with him, pulled a bit over the desk, and Harry blinks in surprise before realizing he still has a grip on the other’s hand. He lets go slowly, and Voldemort pulls back with a scowl.

"You are drunk," the wizard snaps with disgust. "You know nothing of what Lord Voldemort feels."

Harry finds the words… annoying.

"You feel so loudly, though," he returns sharply, moving forward, sliding onto Voldemort’s desk. Ink spills over—Voldemort hisses in annoyance and the stain is gone with a thought—dreams are a magic of their own—Voldemort’s forehead is cold and smooth. Harry bears the man's mark. He presses his scarred head to the smooth. Long, clawed fingers are wrapped around his wrist. His throat.

"Right here, always pressing in," Harry continues, heedless of his position, precarious as it is. "You feel so much it hurts, Voldemort. You hate so much. You’re never just happy. And I was, am, could be. So just take some, won’t you?"

Red eyes are narrow, intent, fascinated as they dart over Harry’s face, trying to gather his meaning. "How do you propose I do that?"

"How does one normally take pleasure?" Harry wonders. Voldemort grimaces, pulling away quickly, and it takes Harry’s bubbling mind a moment to put what he said to context.

"No," he chokes on a laugh, "I’m not asking you to—to snog. To fuck. Just open yourself up. You’re so good at taking, usually, but all you’re doing is giving. Don’t you want to feel like this? Light? Thrilled?"

"You don’t even know what you sound like, do you?" The question is rhetorical. Voldemort’s hand tightens over his throat, until Harry’s breathing grows thinner. "You wish for me to let your happiness pass my Occlumency, as though you have not just slipped through yourself. As if you have no method to make Lord Voldemort feel your pleasure; as if you want to give Lord Voldemort pleasure at all."

Harry touches the hand on his neck, slowly tightening with Voldemort’s rant, and a spark lights his fingers. Voldemort’s hand spasms before it drops. Harry takes a deep breath, glaring balefully. His light-hearted air has faded.

"Perhaps I would give you pleasure so your misery would be all the worse for it," he bites out. The world is fuzzy, but no longer from alcohol. From being choked. Even in his dreams, his life is threatened by this man.

"A pretty plot," says Voldemort. There is something very condescending in his voice; he is clearly looking down on Harry. Doubting him. It’s nothing new, but it makes the sting of anger grow in him. "Very well. If you can conjure happiness as you peer into the face of your death, Harry Potter, then do. Make me feel it, if you can."

Harry’s nails bite into his palm and release. He takes a breath and lets his eyes flutter closed. He focuses.

Happiness. What does it feel like? Like floating, as he was moments ago, or like getting an anticipated hug—not his first, not all the ones he flinched away from, but a hug from Hermione when they’ve almost just died. An arm around Ron’s waist as the boy drapes one around his shoulder. Laughing, hysterical and joyous, by the fireplace. Finding his wand. Finding out he was escaping the Dursleys. Happiness is a brief thing, drenched in the shadows of his life. Happiness is contentment, even if it is a momentary thing. It is the pleasure of a perfectly prepared cuppa; from—nonono, not going there.

Harry wraps the sensations up, one by one, like he’s re-wrapping hard candy, and throws them at Voldemort. Into Voldemort. All but one—his favourite one, his happiest one. That, he grasps, and it’s actual candy in his hand, a sweet that he looks down to, and then unwraps, and he’s moving forward, intent eyes raising, and Voldemort is already gasping, a bit, at the suddenness of it all—of pleasure.

Harry’s lips curl and he pushes the candy into the slightly agape mouth of the Dark Lord a bit cruelly, shoving it deep. He pulls back quickly, before sharp teeth can gnash on his fingers, and watches on as Voldemort experiences pleasure. As Voldemort softens, and sighs, relaxation in every hard line of him, mouth sucking almost greedily around the treasure that Harry has placed within it. Now he’s drunk on it, Harry thinks, horribly pleased to see Voldemort this way.

It’s not real, but still, he hovers on Voldemort’s desk and observes the pink brushing his cheekbones with fascination. He observes the way red eyes roll back a bit, and the way a long, pale throat swallows convulsively down on a slowly dissolving candy until there is nothing left.

Lashless eyes open, dark and suddenly staring. Red barely peeks out from behind the dilation of his pupil, and Harry’s smile is a smug thing.

“There’s your pleasure,” Harry whispers to him, like a secret. “I hope you enjoyed yourself. It can only get worse from here.”

“Worse?” murmurs Voldemort, staring at Harry intently. “You think there is worse you can do, Harry, then give me that and take it back?”

Belonging, thinks Harry, quite suddenly. He’d given Voldemort his favourite thing, the thing that he had been looking for, for a very long time. Longing, and peace, and laughter, and a burgeoning happiness that had very rarely managed to emanate past its conception. He had given Voldemort, too, his desperate hope for things to get better—and then he’d made them get better—and now Voldemort had lost it all.

Suddenly, impossibly, Harry’s eyes are liquid. I’m cruel, thinks Harry, gaze falling from red. There is nothing so cruel as what he has done, and he had done it so carelessly, so happily, so smugly, because he had felt slighted. Had felt wronged by this man who had ceaselessly wronged him.

Slowly, Harry looks back up at Voldemort, who is watching his tears with an expression of keen interest. 

“Has it made you sad to give your enemy your pleasure, Harry Potter?” Voldemort asks, gripping his wrist and drawing him near enough that Harry barely keeps his bottom on the desk rather than Voldemort’s lap.

“It makes me sad to treat you with such cruelty,” Harry corrects, “when I know you will never allow yourself to experience such pleasure again.”

“Would I not?” breathes Voldemort, eyes still dark instead of bright.

“You won’t,” whispers Harry. “It'd require you to trust someone. To have faith in them. And that, I know you’re incapable of, because you are a man but don’t see yourself as one, and gods do not have friends, nor equals.”

“Equals?” Voldemort’s breath brushes Harry’s brow, his stinging scar. “But what if Lord Voldemort were to draw you from the depths, Harry? Raise you from the pale mortality until you, too, are exalted? Then you may give Lord Voldemort what he so deserves; give me pleasure, Harry Potter,” Voldemort enunciates awfully. “Give me it all.”

I wrote this one of the first times I ever drank, and just expanded upon it a bit. I'm honestly really fond of finding these little things I've forgotten.

[turtletoria]

i wanted to try drawing older Mabel and Dipper !

[tshortik]

Cryptic visions of space and time...

[snekky-arts]

sorry i'm late i was busy with the existential crisis of it all

anyway, have something that gave me so much trouble but i think it turned out kinda well

also, this and the rest of this series are available on my Inprnt!!

1 - 2 - 3 - 4 - 5 - 6

[yourmoonie]

Reality is like a big lucid dream

Reality is like a big lucid dream, and guess what?

You're the dreamer

You know how in dreams, you can shape your surroundings, change the outcome, or even fly just by deciding it? It's the same thing here in your waking life. The key is shifting your focus and attention to what you desire, and everything else will align.

The key here is YOU!

Think of it like this: In a lucid dream, when you realize you're dreaming, you stop reacting to the randomness and start creating intentionally. You can suddenly decide you're at the beach or in the middle of your desired city, all it takes is a shift in thought. Your awareness in the dream dictates what happens next.

Now apply that to reality

When you focus on what you want, whether it's love, success, or confidence, and make it your inner truth, your outer world will start to reflect it

Imagine a big projector.

Your mind doesn't know the difference between what’s real and imagined, it just follows your inner script.

So, if you believe you're thriving, loved, and successful, your reality will mirror that back to you. It's all about controlling your inner world.

"Stop trying to change the world since it is only the mirror. Man’s attempt to change the world by force is as fruitless as breaking a mirror in the hope of changing his face. Leave the mirror and change your face. Leave the world alone and change your conceptions of yourself. The reflection will then be satisfactory" - Neville Goddard": from Your Faith is Your Fortune

Imagine you want to manifest more confidence. Instead of waiting for a situation to give you confidence, start by feeling and acting as though you're already the most confident version of yourself. In a dream, if you suddenly decided you had superpowers, you'd just go with it, right? Do the same here, walk, talk, and make decisions like someone who knows their worth. Soon enough, you'll notice how people respond differently to you, how opportunities seem to align, and how your reality changes to fit this new confident self.

"Change your conception of yourself and you will automatically change the world in which you live. Do not try to change people; they are only messengers telling you who you are. Revalue yourself and they will confirm the change" - Neville Goddard, from Your Faith is Your Fortune

You are always in control, just like in those lucid dreams, so start dreaming your reality awake!

[pkmn-lillie]

oh my god i should put my truth into the world

Captain Marvel has been a member of the Justice League for over a decade, joining shortly after his debut.

Billy Batson was chosen as Champion of Magic at age 9.

By all appearances, Billy is currently age 11.

When a person is chosen as the Champion, the effects of such a strong concentration of magic kinda fucks with their aging. With an adult, there's not really that big of a deal; some people look younger than they are due to genetics.

Unfortunately, it is much more noticeable when the Champion is a child.

Billy isn't an eternal child, or anything, he's still going to grow up. His aging just stopped while his body adapted to being the anchor to all of magic. So now he's a middle school aged kid, with a twin sister who just turned 21.

[sunlit-mess]

I wanna hear more about this guy and his lore!!

Why did he fall?

What’s his connection/relationship with Lucifer?

TELL ME EVERYTHINGGG I’M HOOKED

KOKABIEL ( Angel of the Stars / Star of God / The Burning Light )

I just thought of him being created with the sole purpose of knowledge and duty ( being affiliated with the stars and astrology ), being a high-ranked angel but not enough to be one of the archangels. Having the titles, it's as if he's similar or close to Lucifer's role (before the fall) or maybe an extension. He does everything to fulfill his purpose. However, the downside is that he always gets compared with Lucifer (pre-fall).

So what he does is look up to him, idolizing someone he has never met, he's practically devoted at some point, nearing a follower. But oh so bitter and sour because all he gets is to be COMPARED.

Cherry on top that he wants to impress Michael, but Michael can barely look at him because all he sees is Lucifer.

All of his hard work feels like it's going to waste because he'll always be a shadow of someone he never knew. And that created grudges, created hate, created his rage. Thus, it's the reason for his Fall. Bro's identity revolves around a dead person (Angel Luci). That's why he's a narcissistic asshole with fucking identity and anger issues.

What's worse is meeting Lucifer himself, the person he looked up to all his life, doesn't know him.

It's not Lucifer's fault though.

[flwrkid14]

Eternal Bonds: Tim and Danny’s Infinite Realms Marriage

In the Infinite Realms, marriage is an unparalleled commitment. Unlike the mortal world, where love can be fleeting and easily undone, marriage in the Realms is something far more sacred. It’s not just about vows or ceremonies—it’s about merging souls, creating a bond that not even the vast stretches of time can sever. The very idea of marriage in the Realms is rare, almost mythical, because it requires two beings to love each other so profoundly that they’re willing to bind their very existence to one another.

For the ghosts and entities that reside in this realm, eternity isn’t just a poetic idea—it’s a reality. Time is meaningless when you’re no longer alive, when your very essence is bound to the afterlife. And because of this, relationships are viewed through a different lens. There’s no such thing as divorce, no “time apart.” Once a couple is bound, their souls are intertwined forever. To dedicate your entire being—past, present, and future—to another means accepting that their joys, sorrows, triumphs, and failures will be yours too. It’s a partnership where breaking the bond is simply impossible.

It’s why marriage is such a rare occurrence in the Realms. The ghosts, who have already lived one life and often seen the frailty of mortal promises, don’t enter into this kind of bond lightly. It’s only for the strongest of loves, for the most steadfast of commitments. Because once you marry in the Infinite Realms, that bond holds through eternity itself.

And yet, despite the gravity of it all, Tim and Danny find themselves willing to make that very commitment. Tim, a mortal tied to a world where things end, where nothing lasts forever, steps into the unknown. His love for Danny is so deep, so unshakable, that he agrees to a traditional Infinite Realms marriage. He knows full well the weight of it—he’s not just vowing to love Danny in this life, but in every life after. In swearing to this bond, Tim is offering his entire being to Danny, for now and all of eternity.

For Danny, this choice means even more. As a halfa, he exists between two worlds, knowing both the mortality of the living and the permanence of the ghostly afterlife. His love for Tim is powerful enough that he’s willing to make this eternal commitment, knowing that there’s no one else in any world—mortal, ghostly, or beyond—he would rather be tied to. For Danny, the bond is as natural as breathing. It’s a connection that deepens their relationship in a way that transcends the limitations of their two worlds.

Their marriage isn’t just a declaration of love—it’s a merging of souls, a binding that makes them two parts of the same whole. It overwhelms them with the sense of safety and belonging that they’ve both craved in their lives. In each other, they find the kind of love that doesn’t just endure life’s difficulties but thrives beyond them. Their bond ties them together forever in a way that no one else could understand, but to Tim and Danny, it’s everything.

They are each other’s home. And in the Infinite Realms, there is no greater honor, no stronger connection, than to be bound by love for all of eternity.

[cy-cyborg]

Tips for writing and drawing Wheelchair using characters: Your character's wheelchair can tell us a lot about them

When you first start learning character design, you'll often be told something to the effect of "use your character's outfit to tell us more about them" - and this same principles can be applied to a disabled character's mobility aids.

Mobility aids like wheelchairs, to many disabled people, are a part of us. They can be an extension to a person's body and chances are, if you're going to be using this piece of equipment every day for the foreseeable future (or at least for a good amount of time for the foreseeable future), it's going to start reflecting some aspects of your personality, your interests, your passions, especially when you remember, a lot of people get their wheelchairs custom built for them.

You can use your character's wheelchair to tell us a lot about them without ever needing to show/describe them directly.

Let me show you two examples:

Take a look at these two wheelchairs. they're similar in shape and build, but still pretty different to each other. Can you make some guesses about their users based only on what's shown here?

intended answers below:

Please note, the following points are all generalisations and the real world is rarely this simple. This is to demonstrate how to use disability aids to contribute to your character's design, not how to make assumptions about real people in real life.

So here are some similarities between the chairs:

Both wheelchairs have ridged frames, this means the wheelchair can't be folded in any way. These kinds of chairs can imply a few different things depending on the person. They are typically lighter, sturdier and more durable, and indicate the person probably will be using the wheelchair for a long time and/or has the money to get something built to last (or lives in a place where cost not an issue due to universal/subsidised access to healthcare). They are also typically better to travel with when flying, as they are less likely to be broken by airport security/staff.

Both wheelchairs also lack anti-tip wheels, which are a third set of wheels that extend from the back of the chair. Them not being present could indicate the person is likely pretty confident in their ability to use the chair without worrying about tipping out. It could also indicate they are in an environment where the anti-tips could be more of a hazard than a help, such as on rough terrain.

So lets look at some specifics for the green wheelchair:

Take a look at the wheels. The front wheels are pretty small and appear to be solid, while the back wheels appear to be quite narrow (compared to the orange chair anyway). This indicates the user likely lives somewhere with decent accessibility like a (well funded) city where they are unlikely to encounter unpaved/dirt roads/grass. Small front wheels and thin back wheels are good for manoeuvrability and a smooth ride over even terrain, but they will get stuck as soon as bumps appear, so this probably isn't an issue for this person.

While its a bit hard to tell unless you have seen other similar wheelchairs, this wheelchair is very long in the front, meaning the footplate and front wheels are further away from the seat than most. There could be a few reasons for this. One either indicates the person has very long legs, or a lack of motion in their knees, making it harder to bend their legs. This is moves the chair's centre of gravity forward by a decent amount, making it harder to tip back, which could indicate the person's legs are very light. You tend to see this most often in the wheelchairs of bilateral leg amputees, who are at a greater risk of tipping backwards due to a lack of weight at the front of the chair (even if they wear their prosthetics).

The colour of the chair is bright. This could simply be the character's favourite colour, or maybe this colour has some significance to them?

There are stickers on the side of the chair relating to the Paralympics. This could indicate the person is a fan, or perhaps had some involvement in the games?

The wheelchair has handles on the back, but they are able to be folded down. This is a popular feature for people who are independent enough to go out on their own, but still want to have the option for some help. folding down the handles also deters random strangers from grabbing at you (an unfortunately common experience for wheelchair users).

There is some mild paint scratching to the front of the wheelchair, but nothing too noticable. This is typical of older chairs and people who are a little rough on their chairs. Maybe they've had a few stacks and falls throughout the years, probably going a decent speed.

Ok, now let's look at the orange chair

This wheelchair has very large, inflatable front wheels, and very thick back wheels. This will make the chair slower and less manoeuvrable on flat/even surfaces, but much, much easier to push on rough terrain. This is supported by the amount of mud on the wheelchair.

The seat on this wheelchair tilts upwards slightly. This is called a bucket (or according to an old basketball teammate of mine, a dump-truck lol). This is a feature you typically see in wheelchairs made for people with spinal injuries who are unable to move their legs and engage their lower bodies or core to help keep them stable.

The back of this chair is very low, indicating that if this wheelchair user has a spinal injury, it's probably pretty low on their spine, likely fairly close to the hips, making the person a low-level paraplegic. Higher-level paraplegics and quadriplegics usually need a higher back to help support them and keep them from flopping over, since all the muscles below their place where their spine broke either doesn't work, or is significantly weaker. Higher backs though can get in the way of pushing and reduce mobility, so people who need less support will likely opt for a lower back rest.

This wheelchair has no handles, which indicates the user is probably very independent and doesn't need a lot of help getting around.

The paint on this wheelchair is very scratched up, showing the person is very tough on their wheelchair and doesn't care to get the paint touched up.

This wheelchair has no breaks. This is very common on chairs with larger tiers as they don't tend to be as effective, but also on many outdoor wheelchairs, for two reasons. One is because they are made for rough terrain, so chances are, you aren't going to go far without a big push to get you moving. The second reason is that to get over large bumps and obsticals in a wheelchair, it can be helpful to do very large pushes using the top and front of the wheel. When pushing a normal chair, most people will only use the top section of the wheel to push since it's closest, but these big pushes that use the front of the wheel make it easier to push, since you can benefit from downwards momentum. However, this is also where the breaks are located on most wheelchairs, which can create a hazard. I've lost entire fingernails by them getting snagged on the breaks when pushing this way. So if you live somewhere where the breaks are not going to be helpful to you often, it makes sense to not get them.

And here are the characters who own these wheelchairs

The owner of the green wheelchair is an amalgamation of a few people I knew from when I played wheelchair basketball. They're a bilateral leg amputee, and judging by their outfit (The Official National Wheelchair Basketball uniform for Australia), they're an elite athlete. This wheelchair is not the one they play sport in, but it still needs to be durable enough to withstand the rough treatment of airport staff when traveling, as well as heavy day-to-day use that comes with being an active person. While it needs to be rough, the person also seemed to want to prioritise speed and manoeuvrability, and likely doesn't need to worry about rough terrain too much, so they probably live in a major city.

The owner of the orange chair was inspired by a family friend of mine. They live on a farm, and need a chair that can handle life in those conditions, rough terrain and all. This comes at the cost of speed and manoeuvrability on smoother terrain, but honestly, anyone who's lived in the country knows you won't find many of those around there anyway, so that's not too big of a sacrifice. They are paraplegic, are very confident in their ability to use their wheelchair, and probably doesn't need help too often, but still benefit from some extra stability support from the raised seat on their chair.

Conclusion

Once again, these are generalisations, and in real life there are always exceptions, but I hope this helped demonstrate what I meant when I said you can use your character's wheelchair to tell us more info about them if you're smart about it.

I originally planned to do a whole series of these, showing a wider variety of wheelchairs and the people who they belong to, but I guess I kind of forgot because they've been sitting, abandoned on my hard drive for the last 2 years 😅. If that's something you folks would be interested in seeing though, let me know, I'd happily revive the series lol.

[black-and-yellow]

The walk home from UA

[morganbritton132]

I made this post forever ago about Robin finding out that she has a twin and then roping Nancy into helping her find her twin only to learn that it’s Steve Harrington.

And that’s it.

“You’re not going to tell him?”

Robin gives Nancy a look like she’s growing eye stocks out of the top of her head because, “Why would I do that? I can’t do that! He doesn’t even know he’s adopted much less twins with a - a freak! He’d - he’d-“

He’d be disappointed. Disgusted…embarrassed. She doesn’t think she can handle that from her twin. Not after the letter, not after looking so hard.

“You’re not a freak,” Nancy lies, rolling her eyes at all Robin’s flailing dramatics. “I think he’d like to know.”

“Well, he’s not going to,” She snaps. “Only three people have the right to tell him. His dad, his mom, or me. And none of us are going to. And you aren’t either.”

And she doesn’t.

Her and Nancy drift back to their normal lives. Steve graduates. Robin gets a summer job. Nancy is going to hell because Robin knows she has something do to with her walking into work and finding Steve Harrington talking to her supervisor.

And look, Robin doesn’t intend on being mean. Okay?

She honestly thinks she can use this arrangement to quell some of the guilt she feels for not living the life her birth mother wrote about in her letter, but Steve is so… Steve. And it pisses her off that she has this big important life changing secret that she can’t do anything with because he’s Steve Harrington.

So, no. She doesn’t intend on being snarky and rude, but it turns out Steve has a big life changing secret of his own and they are probably going to die together strapped to a chair a million miles under the mall so-

“I’m your sister.”

There’s a beat where Robin swears she can hear the congealed blood in his eyelashes pull apart, “Huh?”

“You’re adopted, I’m your sister, we’re twins,” She rushes out, “And we’re probably going to die, and I never told you because you’re Steve Harrington and I’m just a-“

“Hey, Robin,” Steve cuts in, leaning his head back against hers. “I always wanted a little sister.”

Something like relief floods her and she smiles in such a scary place, “I think I was born first actually.”

“No way!”

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[totally-not-an-awkward-okapi]

Gotham City was host to one of the first radio game shows, if not in the world, then certainly in the country. “The Riddle” was a staple part of many household schedules. But its beloved host, Madeline “Maddi” Wagner has been… missing for months now.

Some citizens of Gotham report that “The Riddle” still sometimes broadcasts at its usual time. Those who claim to hear it consistently describe: being given strange riddles about the history of various places, mostly in Gotham City. They also report that the host calls himself “Edward Nigma” and sounds something like “Maddi.” These reports have never been substantiated due to the often… unreliable nature of these witnesses. Gotham Police have deemed all known listeners either delusional or have lost contact with them all together.

Dig too deep or get profoundly unlucky.

[theartingace]

Divorce #2.5 I'm obsessed with them and their dynamics, the unhinged toxic QPR rep we didn't know we needed💜

They are physically, emotionally, psychologically dependent on each other, they can't stand each other half the time, they threaten their own lives just to spite one another, they have both faced down gods to safeguard each other's existence, they hate each other, they love each other, they are both simultaneously each other's prisoner and warden, they have changed the fabric of their reality as a result of how they have changed in response to the other, they literally never stop heckling each other and I can't stop thinking about them

[hoofpeet]

Trying to pet my bro (gone wrong)

[shaadowmilkcookie]

One of Shadow Milk’s many prop replicas of himself, left behind. Even though the eyes are forever staring straight into the distance… Oddly enough, you still feel like you’re being watched.

But surely, though, it won’t hurt to take it home and touch up the colours, right? :)