#they still don't have a name man

[a-witch-in-a-dumpster]

Random sketch of my cyborg OC I will never finish cause I m a loser :]

[kaahmbem]

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

[farshootergotme]

Occasionally I picture Nightwing calling Red Hood "little wing" in front of others and people looking between this huge, 6'0 feet tall man with growing white hair, and then Nightwing, a shorter man who has flawless skin, probably around his 20's, and a fit but not too buff build and they just- don't know what's happening. Is it some kind of inside joke they aren't aware of? Why is Nightwing acting as if he's years older than Red-fucking jacked-Hood?

Nightwing: Little wing, you actually were decent in that fight! I'm impressed.

Hero, who was helping during this fight as well, listening in to the conversation: little...?

Red Hood: Wow, feeling very appreciated right now. Got any other backhanded compliments in there?

Hero: Wait, excuse me-

Nightwing: As a matter of fact-

Red Hood: Nope! I'm outta here. Screw you!

Nightwing: You know you love me!

Red Hood: In your dreams, dickhead!

Nightwing: Hey! We don't use that-

Red Hood: Not listening!

Nightwing: Jeez, kids these days...

Red Hood: I'm an adult and fuck you too!

Nightwing: What? Thought you weren't-

Red Hood: See you never, I'm out.

Hero: ...

Hero: what the actual fuck?

[sailing-ever-west]

cover-up tattoos <3

I think she should turn the 6's into butterflies uwu and Judge should cry about it and then die

[egophiliac]

Have you heard of the "Crowley is Malleus' dad" theory going around? Where Prince Levan (or whatever his name is) didn't actually die and just went out to get some milk and is now known as Dire Crowley, the silly man? The implications of that theory is absolutely hilarious when you think about it

hold on, we can figure this out, we just need LISTS

PROS THAT CROWLEY IS SECRETLY REVAAN/LEVAN/LAVERNE/WHATEVER:

unspecified fae of some kind, with similar coloring to Mal

the animal masks are apparently a Briar Valley thing

has some kind of big blackmailable secret that was alluded to in episode 4, and then as far as I know never brought up again

(unless this was just Azul bullshitting, which is extremely possible)

based on Diablo, which...maybe means something?

has canonically worn Dad Shorts

CONS:

(gestures to Crowley's entire personality)

NO LISTEN Revaan was the guy they sent off on diplomatic missions and to take care of delicate political situations, and...look, I love this dweeb, but would you trust Crowley to be in charge of negotiating your war treaties

despite my brain insisting on reading his name as "Raven", Revaan's title does imply that he was also a dragon (or super into longan berries, I'm not ruling that out)

currently unclear why Lilia "my closest friend Revaan...he is no longer with us...I used to make fun of him for being kind of a priss about eating jerky..." Vanrouge has somehow not noticed or said anything

Malleus' Aloof Anime ~Aristocrat~ vibe had to come from somewhere, and by all accounts it was NOT his mom's side of the family

???:

turns into a bird in the opening, I don't know if that means anything but it's kinda cool, I guess

all that aside, if Malleus and Yuu are any indication, then the Draconias have...questionable taste in their social choices. so anything is possible!

[alicentsaegon]

The Marriage of Aegon III and Jaehaera Targaryen.

They are so Henry VII Elizabeth of York coded...

[austrianjello]

shoutout to the deadliest polycule you can think of

[sysig]

can i ask for larry and kabu.... is it allowed......... if not i can ask for something else lol

Day 2 - Warm feelings

[paron1a]

His ass does not survive in five nights /J

Ok another tlm x fnaf movie last one..... No promise

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[add1ctedt0you]

What a plot twist you were. [x]

[fortes-fortuna-iogurtum]

I've been reading Exodus lately and I've just gotten to the portions where God gives the first commands to the people via Moses (twice), and then goes on to give detailed instructions about the tabernacle and how it should be built, and I'm just... we think art is unimportant?? we think things only mean as much as their functionality?? we so easily fall into the trap of believing that beauty means nothing, that it's cheap and only worth whatever mindless distraction it brings, that it's barely more than a cheap sensual thrill, that buildings should just be practical and plain and cheap, that everything should be functional but ultimately disposable, that paintings and dresses and mugs and curtains and carpets are just pretty but have no real value, that beauty is fleeting and vain and therefore shouldn't be thought about too much, if even looked for at all... we fall into these traps so easily, and we forget that there are chapters upon chapters of painstakingly detailed plans to build one portable worship tent, and those plans have been handed down through thousands of years of human history, because beauty and art and skill in craft is important

[vaguely-concerned]

btw my headcanon for sophia amell in veilguard is that she has been 'oh no... I think your letter got lost on its way to me first warden... too bad, I'll just stay here in amaranthine until I hear from you, then.... is this a letter I see before me...... a tragedy. I can't read all of a sudden. my eyes. you sent a messenger? my messenger now I'm adopting them. no message received sadly try again'-ed all summons to go to weisshaupt, so she's in denerim with alistair when stuff starts to go to shit and at least they spend the impromptu superblight together. they may both be right on the edge of the calling (? we just don't know!) and ferelden might be about to fall, but at least they're king arthur and merlin-ing (erotic and romantic connotations) it up together at the end of the world and kissing and holding hands about it. and what more could I hope for for them. that's what beating the odds looks like for wardens I think.

there's a particular incident where she saves his life through the power of spirit healing and. maybe the guiding hand of Something that seems to still reside in the petals of the rose he gave her that she's worn in a little glass vial around her neck and that have not withered all these long years, and it inspires actual myths and romantic literary traditions and folk ballads and all sorts of nonsense that outlast them both. neither of them care tho they're just. hugging right now. drenched in darkspawn blood like the old days. resting their foreheads together. taking every moment they may have left just to be together. whatever you do don't go without me. wherever you go let me go too. and with you let me be buried, and where you go after that let me go with you then as well. (of course. of course. after all of this, where would I ever go without you. the one good thing about the blight is that it brings people together. the one good thing is that it brought me to you.)

[k2ulhu]

hulu was doing live coverage of the election until 2:00am, at which point my power randomly went out and when I reopened the hulu app on my tv the election coverage was replaced with

[citrusai]

cole not showing up in veilguard despite literally joining solas & his cause is so... then again the whole fen'harel agents and elven rebellion plot was scrapped and solas' character was reduced to going oooo rook you wanna repeat the cycle of abuse and indentured servitude i am in currently ooooo rook you wanna be me soooo bad ooooo rook you wanna kill the evanuris for me and then i'll tear down the veil anyway oooooo rook go prey on your companions' trust in you to kill themselves for you like i was willing to do for mythal. oh u got her to forgive me? oh and the inquisitors here too and they forgive me? oh and you forgive me even though it's clear idgaf about you or your opinions? well alright the veil can stay. despite the fact that it's obviously deteriorating anyway and me making the black city golden again won't do a fucking thing. ok i'll go :)

[bumblingbabooshka]

His name is Spring and when Amandus told him that that was a season on Earth he stared at him blankly until he changed the subject [didn't know how to respond] [Patreon | Commissions]