#still upsets me a little !!

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[fexjam]

for the requests: can you draw pyro and medic bonding? i was thinking smth like pyro giving medic a heart and medic appreciating it for surgery but idk!!

Thanks for the request!

I love Medic and Pyro interactions, they're my favorite characters♡

[courfee]

“Regulus would be proud of us,” James whispered quietly to no one in particular, still gripping onto the painting like a life raft. 

— Tender Curiosities, Baby!  @otrtbs

[ratatatastic]

maffhew who refuses to say runebergin torttu because he knows hes gonna butcher it so bad he might be kicked out of the country the second he tries and staunchly avoids that by going "the one dessert that barky is going to have to explain 😃"

sasha who gets faced with the most generic description of everything hes ever eaten in his life so far because of maffhew and going "???... oh you mean runebergin torttu!"

"he did good he liked the food and he likes the finland so far so its good" sasha says with so much pride now that all the anxiety has left his system that his husband teammate is enjoying his country and doesnt hate it

media availability | 10.29.24 (x)(x)

the smile of a man who knowlingly doomed his husband and said husband using all his brain power to context clues his way to whatever the fuck he just got asked that his brain is running hotter than a mid 2012 macbook air thats somehow still alive in the year of the lord 2024 but girl does she chug along shes louder than a fighter jet

[obsob]

in other news. my frog family has expanded

[chiropteracupola]

there's no rule saying you can't turn medieval kings into magical girls.

[mercifullymad]

i feel passionately about the need to enfold people experiencing (or diagnosed) with "just" depression or anxiety into the mad pride project. the more people who view themselves as mad, the better. much as the rhetorical move from "neurotypical" to "neuroconforming" emphasizes the artifice & social construction of "neurotypicality," so too will expanding identification as "mad" expose the sane/mad dichotomy as a false one.

it's true that (some) people with "just" depression and/or anxiety have an easier time navigating the psych system than people who have more stigmatized diagnoses. but this is not to say that they necessarily have an easy time — the carceral psych system is hostile to everyone subsumed by it, even the most "privileged" patients. we should of course critique & examine how our experiences are shaped by various intersections of privilege, but we cannot forget or ignore how someone with "just" a depression/anxiety diagnosis can still experience the full force of the carceral psych system brought down upon them (including but not limited to involuntary institutionalization, police intervention, & forced medication or other forced treatment).

we must encourage, if not insist, that those with the least-stigmatized diagnoses view their difficult experiences navigating the psych system as bound up with the liberation of people who have more stigmatized diagnoses &, often, a more violent experience of the psych system. we need more people to drop the "i have anxiety/depression but i'm not crazy" line and say loudly, "i have anxiety/depression & i am crazy. my access to just treatment is linked to the conditions of all other crazy people, who are my allies, peers, & friends. we are united in our cause & we all deserve a more liberating system of care."

[pkmn-smashorpass]

Tell me your fave and why!!

[mariana-oconnor]

[poorly-drawn-mdzs]

Wardrobe Woes

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[sunsetzer]

Good morning everyone I'm currently thinking about how Orion was the first person Megatron killed and crying into my cereal :')

[fromtheseventhhell]

"I've never seen such anger in a girl" and it's literally just a nine-year-old being quiet after an upsetting event, Arya really experiencing the universal girlhood experience of having your emotions policed for not responding in the "right" way

[suchscary]

Too many artists who do commissions, in my experience, don't take their job seriously enough.

It's a meme how some artists take months to complete a comm and "haha im so grateful for having patient commissioners" but that's just poor work ethics on the artist's part.

When you offer commissions, you don't just offer art, you also have to communicate with your client properly, give them proper updates, ask them for feedback during process, discuss things that your ToS doesn't cover if needed, and so on.

Just for example, if you're taking longer than expected, let them know why (just vague "due to personal problems" is enough) and if needed, offer a refund or another alternative instead of making your commissioner reach out to you for updates themselves and possibly stressing them out.

Otherwise, you're treating your commissioner like a nuisance that you're forced to work with, not a client who offers you money in return for proper service.

[the-carlos-cow-eyes]

What Bellamy Blake deserved: NOT FUCKING THAT

[triglycercule]

horror being very specific with table manners and he berates people (dust and killer) for eating like fucking pigs

i think it'd be morbidly funny that because there was no food in horrortale but the cutlery and stuff was all there that maybe he would pretend to eat with no food on the plate. it was in a satirical way that he would joke maybe around horror paps or alone where he would pretend to eat and have really good table manners but then the satire joke became REAL and now horror is incredibly specific about how to eat food

you MUST hold the fork in the left and knife in right says horror. no killer you can't duel wield the fucking knives this is a table not a slaughterhouse. dust pick up your elbows off the table. actually how about you get your entire upper body off the table tf why are you SLEEPING ON THE FOOD??? killer's sitting fetal position in the chair because of course he wouldn't sit normally like the idiot he is. dust is forced to put his hood down and reveal his face no more mysterious shadow style because it puts horror at ease. they cannot have a single peaceful meal because once they get past the table manners phase it then becomes a completion to see who can eat the least (because they suck at everything including eating)

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.