#proper boy

[victorianviolet13]

Classy boy. Sitting with his paws crossed...

[artkaninchenbau]

Crocodile finds a strange stray cat an 11-year old Nico Robin (AU where they met 13 years earlier. Robin's been on the run from the World Government for 3 years. Crocodile's 27 and has not set up base in Alabasta yet)

It seems like I have become possessed. By some sort of demon.

Bonus:

[murasaki-cha]

Percy going "Grandpa (derogatory)" about Kronos

That was beautiful

[tomwambsgays]

"harry, i'll spare you another *20 hour mind-project*"

[carebeardean]

Charles whose dad smashed his cassette tape with a hammer learns to navigate the backpack cause, like, he needs to be useful, yeah?

and this way Charles has everything Edwin needs, and if Edwin gets sick of him he’ll just.. he doesn’t know what he’ll do.

but then Edwin gets the record player.

he suggests, tentatively, that Charles might play some of his “queen” if he liked. after all, if they are to haunt potential realtors away from their new office, they may as well entertain themselves.

so they take turns, switching out; edwin likes opera. he shows Charles how to waltz, chiding Charles to stop looking at his feet til they’re gliding, whirling around like they’re in the movies. Edwin’s smile is small and pleased and lovely. (Charles attempt to get Edwin to headbang along to queen results in a sort of awkward rhythmic nodding. Charles loves him so much he could die again.)

And, like. Edwin doesn’t like clutter. he doesn’t bother with the random tidbits ghosts give them for solving cases.

until now, apparently.

now he comes back from trading at the goblin market with little useless things—a cursed rubix cube, records from bands Charles mentioned years ago.

Charles is so busy trying to subtly read his book on Edwardian courting rituals (disguised by Nikos discreet manga covers) that he doesn’t realize what Edwin’s set down in front of him. he stares at Edwin’s spiky handwriting, the tidy numbered list.

“I thought, perhaps, that we might—start a new tradition.”

Charles blinks, eyes stinging. “Mate, did you.. make me a mixtape?”

“Crystal assisted me, and while she was absolutely insuffer—“ Edwin staggers, catching him with a surprised little noise.

“I love you so much,” Charles says, muffled into his throat. “You’re my favorite person. I love you so much it hurts, sometimes.”

“Yes,” Edwin says softly, hands curling around his waist. He takes Charles weight like it’s nothing. “I believe I know the feeling.”

this is a longer fic on ao3 now!

[gotham-snark]

Damian's had a rough time lately 😨 go hurt some bad guys with your dad

[novaneondream]

@candle-scm you did this to me

[bunnygirllover45]

work friends.

[skelesass]

resketch of an older sketch for Tolkien Day! <333

[demaparbat-hp]

Progression (and digressions).

The first post of the year belongs to the one, the only, the boy you've had for less than a month but if anything happens to him you'll murder me slowly and painfully: Lu Ten II.

His travels through the Earth Kingdom with Zuko are some of my favorite moments in the Spitfire AU! We get to see their dynamic truly flourish and deepen before they're reunited with the rest of their family.

But then the Gaang is forced to take care of Ten Ten as they move through the Fire Nation.

Spitfire grows a lot during the course of the story—and not just in height! He's the hope for a better future and the kindness needed to go through the present. I love him dearly, and I hope so do you.

[victorianviolet13]

Cuddle time!!!

[zellaspinna]

“can this bitch stand normally for one second”- probably oscar

[mformarsala]

watching lotr after the hobbit is fucking hilarious ‘cause every encounter with danger goes

Bilbo: actively saves everyone

Frodo: actively tries to die

[noodles-and-tea]

👀

[carebeardean]

modern!charles would text edwin pictures of, like, otters holding paws with the caption “u & me :—)” & those “me when I look at u:🥹🥰😭” memes Before he even realizes he wants to kiss Edwin on the mouth, btw. edwin thinks he is the Loveliest Best Friend of All Time & saves each & every one to his camera roll

[starstrike]

Mithrun's desire as an SA analogue

TW discussion of SA and detailed breakdown of aesthetics evoking SA. The way I discuss this is vivid in a way that may be triggering, though there is no discussion of actual sexual assault. Just survivor's responses to it.

People relate to Mithrun and see his condition as an analogue for a few different things, like brain injury or depression. And I think all of them are there. But I also see Mithrun's story as an SA analogue, and Ryoko Kui intentionally evokes those aesthetics. I think it's a part of Mithrun's character that a lot of people miss, but I very much consider it text. This is partially inspired by @heird99's post on what makes this scene so disturbing; so check out their post, too :)

So to start off with, the demon invades Mithrun's bed, specifically. There's even a canopy around it, which specifically evokes this idea of personal intrusion; the barrier is being pulled apart without consent or warning. The way the hand reaches towards Mithrun's body from outside of the panel division makes it almost look like the goat stroking over his body. It's an especially creepy visual detail; similarly, the goat's right hand parts into the side of the panel as well. It's literally like it's tearing the page apart; but gently. So gently.

Mithrun is in bed. It is his bed that the demon is intruding on. He's in a position of intimacy. The woman behind him is a facsimile of his "beloved" that he left behind; the woman who, in reality, chose Mithrun's brother. He is in bed with his fantasy lover, who is leaning over him. While this scene isn't explicitly sexual, it is intimate. And it is being invaded. The goat lifts Mithrun gently, who is confused, but not yet struggling.

The erotics of consumption and violence in Ryoko Kui's work(remember that the word 'erotic' can have many different meanings, please) are a... notable part of some of her illustrations. I would say she blurs the lines between all forms of desire: personal, sexual, gustatory and carnal, in her illustrations in order to emphasize the pure desire she wants to work with and evoke to serve her themes. Kui deploys sexual imagery in a lot of places in Dungeon Meshi, and this is one of them.

In this case, horrifically. The goat's assault begins with drooling, licking, and nuzzling. The goat could be enjoying and "playing with" its food. But it can also be interpreted as it "preparing" Mithrun with its tongue as it begins to literally breach Mithrun's body. The goat also invades directly through his clothing; that adds another level of disturbing to me. There's nothing Mithrun can do in this moment of violation. Mithrun is fighting, but he is fighting weakly, trying to grip on and push away when he has no ability or option to. All he can do is beg the goat to stop. And it doesn't care. This all evokes sexual assault.

The sixth panel demonstrates a somewhat sexual position, with Mithrun's thighs spread around the goat's hunched over body. In the next, the goat pulls and holds apart Mithrun's thighs as he nuzzles into him. The way the clothing bunches up looks a bit as if it has been pushed up. It has pinned Mithrun down onto the bed, into Mithrun's soft furs and pillows. It takes a place made to be supernaturally warm and comfortable, and violates it. It's utterly and intimately horrifying. To me, this sequence of positions directly evokes a rape scene. I think Kui did this very explicitly. These references to sexual invasion are part of what makes this scene so disturbing; albeit, to many viewers, subconsciously.

This is also the moment the goat takes Mithrun's eye. Other than this, the goat seems exceptionally strong, but also... gentle. It holds Mithrun's body tightly, but moves it around slowly. It doesn't need to hurt Mithrun physically. But in that moment, it takes Mithrun's eye. Blood seeps from a wound while an orifice that should not be pierced is penetrated. This moment, the ooze of blood in one place specifically, also evokes rape. That single bit of physical gore is a very powerful bit of imagery to me.

Finally; it is Mithrun's desire that is eaten. After his assault, Mithrun can find no pleasure in things that he once did. He is fully disassociated from his emotions. This is a common response to trauma, especially in the case of SA. It's not uncommon for people to never, or take a long time to, enjoy sex in the same way again; or at all. They might feel like their rapist has robbed them of a desire and pleasure they once had. I think this makes Mithrun's lack of desire a partial analogue for the trauma of sexual assault.

Mithrun's desire for revenge was, supposedly, all that remained. Anger at his assaulter, anger at every being that was like it; though, perhaps not anger. Devotion, in a way. To his cause. I don't know. But the immediate desire to seek revenge is another response to SA. But on to Mithrun's true feelings on the matter.

This is... So incredibly tragic. Mithrun feels used up. Like his best parts have been taken away. Like he's being... tossed aside. This certainly parallels the way assault victims can feel after being left by an abuser. Or the way assault victims feel they might be "ruined" forever for other partners. These are common sentiments for survivors to carry, and need to overcome. In the text, it's almost like Mithrun feels the only being who can desire him is a demon who might "finish devouring" him. That that's his only use. It's worth noting that Mithrun trusted the demon. Mithrun's world was built by the demon, and Mithrun, in that way, was cared for by the demon. I think this reinforces Mithrun's place as a victim.

There's also something to be said about Mithrun as a victim of his own possessive romantic and sexual desire. The mirror shows him his beloved just dining with his brother, and it infuriates him. He doesn't know if the vision is real, nor if she has really chosen his brother as a romantic partner. The goat then creates a whole fantasy world where she loves him. As Mithrun's dungeon deteriorates, she is the only person that continues to exist. Mithrun continues to have control over her. And that is the strongest desire the demon is eating, isn't it? There's something interesting there, but I don't know what to say about it.

In conclusion, I think Mithrun's story is an explicit analogue for sexual assault-- though, certainly, among other things! The way the scene plays out and is composed explicitly references sexual violation and invasion of the body. His condition mirrors common trauma responses to sexual violence. And, at the end, he finally realizes he can recover.

Let's end on a happy Mithrun, after taking the first step on his journey to recovery :) You aren't vegetable scraps Mithrun. But even if you were-- every single thing in this world has value. Even vegetable scraps.