#she thinks i don't love her.

[outlying-hyppocrate]

my mother wants me to read the end of gender with an "open mind". i am going to be completely honest. i fucking hate it.

[kensatou]

i'll let phie-san say it:

[wildbasil]

things haven't been great but i think they will be. eventually 🌻🌼🩷

[poorly-drawn-mdzs]

HOT, SINGLE, UNSTUDIED SPONGES. 3000 NAUTICAL MILES AWAY. Come sail the distance and read Tiger Tiger!

[rubikor]

they were her people

[ruporas]

your love returns in tragedy (ID in alt)

[inkskinned]

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

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

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

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

and i'd still keep writing.

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

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

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

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

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

you create because you're greedy.

[kaahmbem]

legend has it that the young witch circe and the once beautiful nymph scylla shared a complicated past...

[deathricedrawn]

i'm ready to try

[lemonsharkgirlfriend]

so rhaenyra starts s3 with a god complex, believing herself to be the prince that was promised from aegon the conqueror's dream... but hugh and ulf will betray her, mysaria will misunderstand her, coryls will undermine her, bartimos will underestimate her, daemon will abandon her, her people will turn against her and burn her castle and kill her dragon. and when everyone who accepted rhaenyra as queen rejects her, the only person left to love rhaenyra will be alicent, who never loved rhaenyra as queen but rhaenyra as a person ("she was the vision that sustained him [...] it was his love for her that kept him resolute in his choice of heir."). alicent, who abandoned her gods and duty to go to rhaenyra on dragonstone and appeal to the person beneath the crown ("i cast myself on the mercy of a friend who once loved me."). alicent, who's made a god of rhaenyra, not as queen, but as the girl she read with beneath the godswood ("come with me.").

[wilcze-kudly]

People will go on about how "Katara's story is a tragedy" because she... ended up marrying the guy she loves, having children and grandchildren which she was always excited about and literally becoming a master waterbender and rising to the top of her field as a healer.

Yes, Katara's story has tragic aspects to it. And there are certainly flaws in how she is written in tlok (Though I will argue that there are actually more issues with how Toph and Zuko are just plopped in there for no reason in later seasons). And her storylines aren't perfect, for example her resolving her trauma around the murder of her mother being more used to prop up Zuko than her own internal turmoil. (Most of TSR is from Zuko's perspective and I hate that actually)

"Katara's story is a tragedy" Why do you have such a hard on for this woman's misery? Let her be happy, man.

You know what gaang girlie's life is an actual onscreen tragedy?

Toph's!

People will fucking downplay Toph's childhood abuse because she wasn't physically hurt, but her childhood was a never ending carousel of abelism, misogyny, neglect and isolation. The way Toph describes her parent's treatment of her as "pressure and pain" is heartbreaking.

Toph's only escape was Earth Rumble and earthbending, but despite her skills, she remained the perfect little lady her parents always wanted her to be. She's never known a different life, and she was only able to be her real self in secret.

And when Toph finally opens up to her parents, when she finally lays her real self bare in front of the people who are supposed to love and care for her?

She is met with what may be, in my opinion, the cruellest rejection in the show.

Despite this, even when Toph runs away, she still cares for her parents' approval. Hell, she's even lured into a trap due to her getting a forged letter from her mom and getting excited because it looked like her mom was finally accepting her.

It's also important to note how determined to be self sufficient and to prove herself Toph is. We can especially see this right after she joins the Gaang, where she refuses to participate in splitting with the rest of the group, insisting on "pulling her own weight". This isn't Toph being a brat, or spoilt, this is her wanting to prove that she can handle herself because people have handled and understimated her her entire life.

Eventually, Toph starts to learn to trust the members of the Gaang and this is a step in the right direction. She's literally making friends for the first time in her life I'm so proud of her.

However, I was genuinely upset when Toph's life changing field trip with Zuko didn't work out. When Toph was trying to connect with Zuko and he blew her off (I'm not blaming him tho they had shit to do), I couldn't help but remember the rejection Toph suffered from Lao.

Post canon, Toph continues to try and prove herself, starting a metalbending school and training new metalbenders.

She also reconciles with her father. Not before Lao disowns he rmultiple times and calls her a rude, ungrateful thing. And while he eventually comes to understand Toph and cherish her, that type of trauma sticks with you.

So it's no wonder really that Toph, someone who went her entire childhood seemingly without even speaking to someone her age, would have trouble forming connections. She has children with two different men, neither of which seem to stick around.

Toph tries to do right by her daughters and gives them the freedom she never got. Sadly, the pendulum swung too far to the other side, since it seems that she started to neglect her daughters, which led to them developing a sleugh of issues of their own.

Toph becomes the cheif of police, which kind of makes sense. Republic City was only slowly emerging as an actual metropolis. Toph took on a role as a protector, and probably as a way to prove herself. But as Republic City grew, Toph probably realised that she became something she hated. A cog in the machine, and started to despise her job.

Searching for a semblance of the freedom and happiness her travels afforded her in her childhood, Toph leaves the city and takes up the life of a hermit in a swamp. She managed to fix her relationship with Suyin to some extent, but still seems reluctant or simply unable to connect with her daughter or grandchildren. Since she apparently hasn't seen Opal, a grown 20 year old woman since she was a little girl.

On the surface old Toph doesn't seem terribly dissimilar to young Toph, still tough and spunky. But she is more jaded, depressed and pessimistic. She comes out to save Suyin from immediate harm and manages to somewhat reconcile with Lin, but then she fucks right back off to the swamp where she seems to literally hide until Wu and Korra straight up force her to come with them.

Toph's story began with her alone and it seems to end with her alone as well. It's a story of a girl who grew up isolated and handled by others, and was woefully unprepared for the real world, which only jaded her further. She lives with the guilt of fucking up her daughters' lives and a belief in the pointlessness of life.

Toph started off longing to experience the world and ended up willingly isolating herself from it.

If that isn't a tragedy, I'm not sure what is.

Mind you, this is not the trauma olympics. I'm not saying that Toph has suffered more than Katara or that Katara's trauma is not as valid as Toph's. Katara and Toph's experiences are completely different, Katara being a victim of genocide and war, Toph being a victim of child abuse. I'm just saying that, objectively, Katara had a happier 'ending' than Toph.

[demaparbat-hp]

Izumi (steambaby) sketches.

[uncanny-tranny]

Diversity win! All the male mannequins in the nursing class I was in had vaginas (literally all)!

Diversity loss! Everyone was Weird about it

[poorly-drawn-mdzs]

Thanks for listening to my sad backstory. Anyway, here's Wonderwall.

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[wistfulwatcher]

emily prentiss + her waning tolerance of getting close to killers

[b0bbynash]