#really wasn't the intention

[givemewallywestorgivemedeath]

I am unable to write scenes without homoerotic tension. Everytime I reread what I've just written I'm like "Oh these bitches gay! Good for them, good for them." It's not even intentional. I'm writing ship fics about characters I don't even ship.

[bixels]

The Ryoko Kui interview's reception is such a disaster over a pretty normal (yet still flawed) interview between a non-Japanese fan and Japanese artistic. This is discourse for discourse's sake, and it's no surprise that almost every Twitter user I've looked at who's using this interview to parade Kui around as a goated mangaka standing strong against Western ideology is anti-trans.

Like, I do think the interview was kinda wonky with its focus on fandom culture, which Kui clearly didn't have much interest in. But sometimes that happens. Sometimes interactions between two people, especially a fan and a creator, two people who view and interact with a piece of media in completely opposite perspectives, don't click. Does this really need to get blown up into a "West vs. East culture war" issue.

Anyways, Kui saying "I don't consider my audience's interpretations when writing. I leave it to their imaginations, but I have my own read on things too" is the healthiest, most normal thing an artist/writer who wants a non-parasocial audience could say. Artists and writers use this line all the time. If Kui didn't enjoy autistic Laius or Farcille headcanons, she would have probably voiced/signalled her discomfort, like she did on the topic of Senshi fanservice. Overall, Kui handled the interview really well. Props to her to sticking to her guns and keeping a healthy disconnect from the fandom. While I think the interviewer could've/should've been more tactful and restrained, the flaws in their questions is not a symptom of the woke mind virus trying to wriggle its way into the pure Japanese psyche. It's the sign of an over-eager fan who sees a piece of fiction differently than its creator.

[sparrowlucero]

do you actually dislike the bird abode or just the creature designs? not saying the name directly so your ass doesn't get blasted by the tag

I like a lot of the creatures in it; the showrunner is a really fantastic horror artist and it really comes through in the aesthetics of the show. I especially like this hand dragon, though there's a lot of other great designs:

As for the show on the whole, it's not bad but not really for me? Early on it really feels like it's schtick will be that it's a subversion of harry potter-esque stories, where the protagonist wants to go on an adventure similar to her favorite fantasy book but instead ends up hanging out with the "villain" (who's actually just othered)/the magic school turns out to be secretly oppressive/the world is kind of gross and spooky instead of clean and approachable... but as it goes along I think it ends up being a pretty by the books YA fantasy thing played mostly straight, and it isn't super interesting or funny or scary or anything besides that. Which admittedly was probably to its benefit, I think a lot of its popularity comes from it being this very tropeish and not-uncomfortable magic school/found family story that's actually queer, like I genuinely think this is hugely appealing to the average cartoon fan on twitter, but I'm just not personally into it in comparison to a lot of it's contemporaries

[hairmetal666]

He hates Steve Harrington, everything about him. His stupid, upbeat pop music. His tall fucking hair. His annoyingly bright clothes. His bullshit German luxury car.

Eddie hates that Steve's a good guy. Hates that he carried Eddie's broken and dying body out of hell. Hates that the kids love him how they do. Hates that he and Robin Buckley are the kind of best friends who might as well be siblings. Hates the way that Jonathan is back and Nancy is happy, and Steve has no resentment about any of it. Hates that he'll never, for as long as he lives, forget about six kids and a Winnebago.

And he hates, more than anything of all, the way he's always finding himself in Steve's bed. The way he falls apart when Steve is deep inside, the way he begs for more, pleads for Steve to wreck him. The way Steve treats him so good that it makes him sob.

Eddie hates himself for not being able to stop. For wanting Steve so much that sometimes he feels it as a visceral ache in the back of his molars. He hates himself for how little fight his dumb traitor heart puts into not being astronomically down bad in love with the guy immediately.

And none of this is supposed to flow from his brain to his tongue to out of his mouth, but Steve fucks him so good and slow--gives him the most mind-blowing orgasm of his life--that it all just slips out of the safe confines of his mind.

"I fucking hate you," he says. Or pants, more like, he's all flushed and sweaty and covered in come, not yet settled back to himself.

"W-what?" Steve stutters. He's standing at the edge of the bed, damp towel clenched in his fist.

True, full consciousness strikes then and he doesn't know what else to say. Steve's big eyes are wide and sad, and Eddie's brain is screaming at him to fix it, and isn't that just another thing that he hates?

"Steve. Like. Fucking look at yourself, man." He waves his hand up Harrington's perfect body. "You're the most beautiful fucking thing in the universe. And you--you embody like every fucking thing I'm supposed to hate with your money and your athletic ability, and your whole goddamn clean-cut All-American boy next door bullshit. And I--I keep ending up here when everything in me says to run away, that this--you--are too good to be fucking true."

And Steve, he's pinching the bridge of his nose, looking more than anything like he's trying not to burst into tears and this--this cannot be borne.

"I love you so fucking much." His voice cracks and he reaches out to circle his fingers around Steve's wrist, the one holding the towel. "I love you so much and I don't deserve even a second of it. Not a minute. Because you're Steve Harrington, you're--"

Steve presses his hand (he hates the the wide palms and long fingers, how they're perfect, how they hold him and comfort him and wring out pleasure again and again like it's nothing, like Steve's hands were made for making Eddie come) over Eddie's mouth. "Shut-up, Munson," he says.

"I fucking hate you too." There's ease in the way he says it, a lightness in his eyes. "I hate that you don't use conditioner. I hate that your van makes that turkey gobble sound every time you turn a corner, and you refuse to let me look at it. I hate how loud you play your music, how it makes my fucking skin shake. I hate when you forget to take the damn chains off your jeans when you put them in the wash."

Steve climbs into bed, straddling him, towel long forgotten. "You know what else I fucking hate, Eddie?" He leans down, ghosting his lips against the tip of Eddie's nose, skimming his mouth. "I hate that I've never loved anyone like I love you. I hate that I almost fucking lost you. I hate that we can't spend every minute in this goddamn bed, so I can memorize every inch of your skin, every sound you make, every single way I tear you apart, and all of the things that put you back together. I love you, Ed. Every fucking terrible part."

[giratina-plushie]

this came to me in a vision

[unproduciblesmackdown]

Lackadaisy Enrichment

[mechatyto]

gamzee: fancy church edition

[☕️]

⬇️ close ups & talking under cut ⬇️

these gams exist in the set of my au's where he joins the church fleet and finds basically everything he hoped for (and whatever would make him choose to leave is going to be a world-shattering event)

working in and refining some of my clurch aesthetic staples: purples and orangey golds, the red-green pair, the primaries trio; rainbow beads, rainbow gradient fabric; some harlequin diamond variations, that multi size spot cluster pattern i made that i really like; some bone and horn in the jewelry; snakes, and ribcages

i do have headcanon thoughts i keep meaning to write out about how different trolls choose to wear and style their sign, and what that says about them - highbloods put more emphasis on line signs and ancestors, i’m sure some seadwellers just get atrociously gaudy with it; within the church, the capricorn sign could have some extra weight given who the grand highblood is

this version of gamzee only seems to show his sign on clothes that he’s wearing in some official capacity (vestments, uniforms) but still dresses to clearly show off his blood and religious affiliation, and i’m sure that makes a multitude of statements depending on who you ask

anyway i like these outfits and i Will be using them again probably

[queercontrarian]

In the Hands of Fate

@elucienweekofficial

day 1: fated

i've had this idea in my head for a while and i finally did it and i'm so happy with how they turned out!

[thenotoriousscuttlecliff]

Seeing people say that we never see the Doctor and Ruby talking for more than 30 seconds makes me think 73 Yards and Dot and Bubble has just clouded their memories because the first four episodes of this era are almost nothing but the Doctor and Ruby talking and bonding.

Yeah, the Doctor-lite episodes meant we haven't had as much lately, but so many are going on as there's been none at all, as if every episode before 73 Yards was like Rogue where they were mostly separated in their own plotlines.

[ashleyslorens]

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET ⤷ Act 1 Score | (Act 2)

[skrunksthatwunk]

ding ding ding

of all the things ash gets compared to (lynxes, beasts, demons, wives), colonel fox is the only one to call him a leopard, the thing ash views himself as, at least within the context of the snows of kilimanjaro visual. also note that eiji is the only one to respond directly to that visual, insisting that a) humans have wisdom leopards don't (don't die on me for nothing) and b) ash is not a leopard, anyway (seriously ash don't die on me for nothing)

to fox and to ash, ash is someone whose life of violence (+ inability to leave it, stubbornness, whatever he's searching for that keeps him going down this path, etc) will inevitably lead to his death. eiji's an optimist (perhaps more accurately, he believes in ash) and tries to steer ash from this, but he's more resigned to it than he's willing to tell eiji. and the fact that fox understands that about ash immediately is just. ough. and of course in the end, ash is the one who seals his own fate. it wasn't inevitable, to eiji, to the audience, maybe to the world. but it was inevitable to ash, and he finally surrendered to it. he couldn't believe in his ability to escape like eiji could (or, imo for a slew of reasons i'm not getting into, he chose to die in a comfortable place and time, surrounded by hope and love. before things got bad again. etc)

edit: i forgot to say this in the original post but part of the reason why foxx feels like a final boss is because of that immediate understanding, that psychological violation. and because it lets him reinforce ash's hopelessness that leads to his final decision

[justanotherali3nn]

Some Vox fanart, I'm rather proud of this one. This drawing was based off of something my sister pointed out to me earlier. Vox seems to try and "copy" Alastor. Why we think this is bc Vox constantly smiles around cameras and people. However, he is not exactly like Al, because he immediately stops smiling after the attention is off of him.

Aka, Vox is obsessed with Alastor

[crispinkiss]

drawing the dreamers 💤 for the first time. they're so shaped

[wanderingwriter87]

okay okay which one of y'all finally put garashir on julian's memory alpha page

[prongsmydeer]

Things I Loved About Fleabag (2016):

The careful balance of spiralling and sincerity that keeps you rooting for resolution and relief, despite the show intentionally framing itself around grief

The way that it is clear based on the way that they talk about her that Fleabag is a great deal like her mother (her off-colour jokes, her charisma, even hints of difficult friendships through the Godmother) but they don't have anyone make that comparison until the last episode of S2, with, "You are the way you are because of [your mother]" and the look of surprise on Fleabag's face when she hears it

"Don't make me an optimist; you will ruin my life," being such a telling line, because as you fall in love with the Priest, and Fleabag, you want to believe that things will work themselves out

The love in Claire's line to Fleabag, "The only person I'd run through an airport for is you," and the delightful contrary optimism of her deciding to go to the airport anyway

The revelation that Boo had offered to take Fleabag's love for her mother, intertwining both losses

The way that the Priest not only breaks through the carefully constructed narrative relationship that Fleabag has with the viewer, but also himself directly looks toward the audience on a separate beat as he tries to understand her more ("You don't like answering questions, do you?")

The entire sequence of the last few scenes, "Being a romantic takes a hell of a lot of hope," to "I love you." "It'll pass," to Fleabag walking around with a statue that is, in some ways now, a physical representation of the love she is carrying around. Because while the show is about grief, and love, it doesn't feel like it is asking you to overcome those things, but to learn to live with them while moving forward

[deepseaspriteblog]

Happy Friday! I'm actually super happy with my sprites this time round. Hopefully this means I am out of my weird funk and can continue making cool sprites. I think maybe all that farming put me in a good mood. Music kid and moon kid are my personal faves!

As always, if any of these designs interest you, you can buy them from my ko-fi through the link below!

1/2/3/4/5/6

7/8/9/10/11/12