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thelaurenshippen · 4 days ago
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hello it is world radio day and I want to talk about the state of audio drama very quickly--
over on bluesky, there's a lot of chatter about saving AD at the BBC and it's really worth reading through the tag. public funding for the arts, especially a medium in which experimentation and diversity are prioritized, is crucial and I'm deeply concerned about the BBC getting out of the game.
and, for me, this feels like part of a bigger discussion. the state of art in general is, uh...tough right now. when it comes to getting stories that you feel represent you - that are exciting and inclusive and meaningful - we just have to hope that some big stakeholders have spines and want to still make challenging stuff. idk about you, but I don't want to put all my eggs in that basket.
audio drama has always thrived in america because of you - welcome to night vale, wolf 359, the bright sessions, even the magnus archives (which isn't american but very popular here) have all been able to exist because of listener enthusiasm and support, not public funding or investment from large companies.
the best thing about podcasts is that they are mostly separate from governing bodies/regulations. sure, we all rely on hosting services to carry our shows but if push came to shove, we could create our own RSS feeds. the state of both the us government and tech (and the ways in which those two things are becoming increasingly intertwined) makes me nervous for free expression, but I take comfort in the fact that a lot of shit would have to change for someone to be able to bully me into making my art less diverse.
we have to start aggressively supporting small studios and independent creators again. if you can do that monetarily, fucking great - atypical has a membership program, most shows have patreons or crowdfund, etc. - but that's not the only way to support the art you love. talking about it, making fanart, telling your friends, reblogging, live posting, whatever! we talk a lot about the health of fandoms/reblogging here on tumblr and that's part of it too--we need to start really actively participating in our enjoyment of art again.
anyway, here are two crowdfunds you can give to right now that are still trying to meet their goal:
Camlann Season 2 Heartglass
and an incomplete list of audio dramas that I've been enjoying recently:
Red Valley Un(con)Trolled Havana Syndrome Sherlock & Co
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webcxre · 10 months ago
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more kidpix art bc im getting a kick out of it
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i-dreamed-i-had-a-son · 6 months ago
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Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet
Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)
Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked
#these just sum up my personal takes at the years in question and also what i'm seeing on tumblr/other social media#bbc sherlock#sherlock holmes#and i actually have a lot more thoughts to share on this series#specifically relating to the cultural impact#there is SO much about the show that goes unappreciated in hindsight because of how public perception of it has soured#and i totally fell into this as well--i still regularly rewatch hbomberguy's video absolutely dismantling the series and he isn't wrong!!#but what i'm saying is that i think it's easy for us to look at a piece of media (especially one so massively popular) like sherlock...#with very black-and-white lenses. it wouldn't have become so popular if there wasn't something inherent in it that resonated with people#and that's being buried (and i totally forgot it) because 'sherlock is cringe and problematic. can't believe i liked that'#which again it IS full of issues and those are well-documented as they should be. future portrayals should not repeat those mistakes#BUT being able to impact so many people is a merit in itself. and that's only possible because of other genuinely good things about the show#yes the way they handled the relationship between john and sherlock was riddled with problems YES it was often queerbaiting#AND the way they portrayed that relationship had a deep effect on me. i saw a lot of myself in sherlock and the complex way he loved john#the nuanced feelings he had about john's marriage to mary. the part (in s4!) where john calls him inhuman for not feeling romantic love#there was genuine intention and care put into some parts of this show and it comes through in scenes like those. they impact people.#and because of this realization i'm going to (eventually) do a rewatch of the show. i'm much older and i want to see how i'll view it now#but i want to go into it--and i want everyone who engages with it still--to have an open mind and evaluate it for what it is#not what we expected it to be (secret episode anyone?) or what the cultural drift has turned it into (the tiktok of sherlock's mind palace)#but the messy problematic somewhat-heartfelt massively significant and ultimately meaningful piece of media it actually was#anyway that's my thoughts would love to hear y'all's perspectives#funny how after all this time making a sherlock post still feels like i'm poking a bees' nest lol please be kind!#kay can i just catch my breath for a second#kay has a party in the tags
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astrobei · 2 years ago
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for @quinnick: kiss prompt #4 - lips barely touching
The car is out of gas. Will is about ten seconds away from maybe-dying (again). Mike Wheeler has been abnormally quiet today.
At least of late, one of those things is more abnormal than the others. 
The car is always out of gas. Will doesn’t know when the last time they’d filled it up was, but he does know that it’s not his problem trying to figure it out. That’s Hopper’s deal. Or his mom’s, maybe. Or Nancy’s, or Jonathan’s, or–
Whatever! The point is that the car is out of gas, Mike and Will are stranded at the currently closed general store, and they’re probably about to die.
Again.
“Mike,” Will tries, for maybe the hundredth time. “It’s not your fault, okay, it could’ve happened to anyone–”
“Yeah,” Mike grumbles miserably, as they round the corner, from aisle four – cleaning supplies and household items – into aisle five – canned goods. Most of the shelves are empty, turned over. Mike picks up a can of pickled green beans, pulls a face, and puts it back on the shelf. “But it didn’t happen to anyone. It happened to me.”
Will takes a long, deep breath in through his nose. God forbid Mike Wheeler ever let anything go. “You didn’t know,” he huffs anyway. “It’s not your fault.” The store is dark, which is great for being able to roll your eyes without Mike seeing. Will’s flashlight sputters, briefly, the bright circle of light flickering in and out of view. He smacks it against his palm once, twice, and it steadies. “Seriously,” Will adds, as Mike slows to a stop in front of him. “Stop beating yourself up. So we have to wait for a ride. Big deal.”
Mike turns around to face him. His expression is mostly unreadable in the dark, but Will’s flashlight catches the edge of it – worried, a little guilty. “Yeah,” Mike says softly. “Except there are things everywhere and waiting for a ride is just– we’re sitting ducks here, okay,” Mike frowns. “I don’t like it. It feels like tempting fate.”
“Well, the simple fact of my existence feels like tempting fate sometimes,” Will jokes. It works, for a split second – Mike’s furrowed brows smooth out into something halfway amused, and he makes a noise that might be a laugh.
“Not funny,” Mike says anyway. His lips twitch.
“You laughed!” Will insists, smiling. His voice carries down through the hallway in a vibrant echo. “I know you did!”
“Shut up,” Mike whispers, looking away. “Would it kill you to keep your voice down?”
It might. Somewhere in the back of Will’s mind, he’s vaguely aware that they’re not safe here, out in the open, and that the whole point of them coming inside instead of waiting in the parking lot was to hunker down until Jonathan and Nancy could get another car here to pick them up. And also, preferably, get some gas.
Somewhere significantly closer in Will’s mind, though, is the knowledge that this is the most Mike has said – and the closest he’s come to laughing – since the car had stalled on the way from the cabin to the general store ten minutes ago, and Mike had just barely had time to pull into the abandoned parking lot before it had stopped altogether. He knows Mike doesn’t like this – being caught off-guard, out in the open. Even minute changes in the plan – which you’d think they’d all be more prepared for, considering the way things have been going lately – get Mike a little keyed up.
And the sorry, borderline pathetic part is this: despite it all, despite the ever-present threat of danger, and the impending sense of doom that’s been hanging over their heads for what seems like forever, Will feels vaguely pleased with himself anyway, seeing Mike hold back a smile instead of forcing one on his face.
So yeah, it might kill him, if he kept his voice down. That’s okay. Will thinks it would be worth it, sometimes – the danger and the doom and everything else – to hear Mike laugh.
God, what’s wrong with him? That’s embarrassing. That’s so embarrassing.
He shakes the thought off. “Whatever,” Will says instead, praying the cover of darkness is hiding the blush that’s rapidly rising to his cheeks. He angles  the flashlight away from them anyway, just in case, and Mike’s face falls back into silhouette. “You know I’m right. You’re doomed just by being here with me.”
Mike shakes his head. “You know I don’t think of you like that.”
Will frowns. “Like what?”
“Like– like a bad luck charm,” Mike waves his hands around. “Or whatever.”
“I didn’t say bad luck charm,” Will exclaims. “Ouch! Stop putting words into my mouth.”
Mike grins. “Would you rather have, uh,” he picks up the nearest can to him, something small and vaguely gray, “tinned sardines in your mouth? Tinned sardines in water? Oh, gross. Never mind, actually.”
“I would rather not,” Will decides, even though the shelves are so bare that they might have to suck it up and take home the tinned sardines in water after all. “Would you like some, uh. Tuna?”
“I guess we know why there’s so much fish,” Mike sighs, leaning heavily against an empty shelf. “Nobody wanted it.”
“You mean the ten people outside of our circle of friends that are still left in Hawkins? Yeah,” Will scoffs, then sets the can back down with a soft clink. “I guess not.”
Neither of them say anything for a moment. It’s quiet in the store, the room dark and lit faintly by Will’s flashlight and the display in the corner. It lights Mike up a faint blue, catches the edges of his jaw and where his hair is curling softly over the hood of his jacket. 
Will’s flashlight sputters again. 
When it comes back on this time, it’s more faint than it was before. It’s dark in here, Will realizes, a bit belatedly. Like, really dark.
He takes a deep breath and shuffles closer to Mike, just a little, like the shape of his body all leaned against the empty shelves is a grounding force. Mike gives him a look that Will can’t quite decipher in the dark.
“Everything okay?”
“Yeah,” Will breathes out. The proximity is helping, a little. “Just– waiting for our ride.”
Mike leans in a bit closer too, places an arm under Will’s elbow. It’s a light touch, nothing forceful, but the semblance of support is there. “You sure? You look a little pale.”
Sometimes, Will hates how well Mike knows him. He doesn’t get antsy in the same way Mike does in situations like these, but he’d be lying if he said they didn’t affect him at all. It should be expected by now, the automatic fight or flight. 
For some cruel reason, it still isn’t. “You can’t even see me,” he says, but lets himself lean into the touch anyway.
“I can see enough,” Mike says easily. “Do you want to sit down?”
Will shakes his head. The only thing worse than waiting out in the open is sitting out in the open. At least when you’re standing, you can run. “No. I’m fine.”
Will can’t see Mike either, but he’d be willing to bet real money – that he doesn’t have – that he can tell exactly what Mike’s expression looks like. The pause grows, swells and swells and swells, until Will is sure Mike is going to say something–
There’s a clattering outside.
Instantly, Mike’s hand tightens its grip on Will’s elbow. “Did you hear that?”
“Yes,” Will hisses, twisting around to try and see through the windows. “Of course I heard that, Mike.”
“Do you think that’s–”
“No idea,” Will whispers. With no small amount of reluctance, he tugs his arm out of Mike’s grip. He misses the warmth of it almost instantaneously, and the tugging in his stomach is only amplified by the way Mike automatically leans in behind him, places a hand on his back to replace the absent touch, like it was never gone at all. Will swallows, and flicks the flashlight off. “Now be quiet.”
“The windows are boarded up,” Mike says, decidedly not being quiet. Will wonders where the Mike Wheeler of fifteen minutes ago went – the one that was sulking and fidgeting in silence the whole way down the first aid aisle. “They’re boarded up, so nothing can get in. Right?”
“We got in,” Will points out, which Mike seems to realize at approximately the same second he does. It’s getting a little hard to think, with Mike so close to him.
Will really wishes Mike would pull his hand away.
“Right,” Mike whispers, breath ghosting gently over the back of Will’s neck. “Okay. That’s fine. That’s fine.”
Fine, Will thinks. That’s one word for it.
Another clattering. It’s closer this time.
Will freezes.
Jonathan and Nancy are probably about ten minutes out. Twenty if they had to go back to the Wheelers’ for the other car. So they’d probably be fine if they stuck it out here, because the chance of something happening across them now, in the brief period of time where they’re stuck without a ride, in a building equipped with close to nothing that could help, is small.
Small, but not nonexistent.
Will isn’t really feeling inclined to take that chance. “Come on,” he says, then spins on his heel, grabbing Mike’s hand and tugging him in the opposite direction. “Come with me.”
Mike follows easily, stumbling slightly with the sudden movement. “Wh– where are we going?”
“Just come on,” Will says, then tugs Mike around to the back of the store. He yanks open a door, and shoves him inside. “Get in.”
“Whoa,” Mike says, as Will tumbles in behind him. “Will, what–”
“Would it kill you to be quiet?”
“Sorry,” Mike says, then does, at last, fall silent.
Immediately, Will wishes he hadn’t said that. It’s dark in here – even darker than out in the front of the store – and the only noise is the faint hum of a generator, somewhere behind the walls. It’s grating and stilted. Will wonders when the last time it had been repaired was.
Plus, it’s really–
It’s really fucking dark in here.
Will lets out a long, slow exhale, and reaches out to feel for the wall beside him. His palm comes into contact with chipped paint and he follows the shape of it down, lowering himself onto the ground.
“Will?” Mike says, and Will is in half a mind to say that thing about being quiet again, but–
It’s dark. It’s really dark.
“Yeah,” he says, barely audible even to himself over the faint hum of the generator, and the louder hum – demanding, prominent, persistent – of his blood rushing through his ears. “I just– sitting. I’m sitting.”
There had at least been some light out in the front, but this storage closet might as well be a void. It smells vaguely of dust, something stale and unknown and probably untouched for who-knows-how-long. Will takes another deep breath in.
“Where?” Mike asks. “I don’t want to step on you.”
Will cracks a smile. “Here,” he says, and holds a hand up in the air. “Right here.”
There’s a quiet shuffling sound as Mike moves closer, and then Will feels fingertips brushing against his. Mike latches on immediately, gripping tighter onto his hand and sits down in front of him. 
Will still can’t see anything – he can’t see anything – but he can feel Mike’s presence like it’s a tangible thing.
Mike could let go of Will’s hand now. Now that he’s found him.
He doesn’t, though.
“Hey,” Mike says, then there’s another faint shuffling noise. “Where are we?”
“Storage closet.”
“Huh. How did you know it was here?”
Will cracks another smile, despite himself. “My mom worked here, remember? For, like, years.”
“Right,” Mike laughs, and then he’s moving closer, knees bumping against knees in the dark. “I forgot. It doesn’t feel like the same place.”
“Tell me about it,” Will sighs. He’s probably breathing in dust and debris and soot and all sorts of gross stuff, but he can’t find it in himself to care. He presses his knees against Mike’s a little harder, just because he can.
“I remember,” Mike starts, readjusting his grip on Will’s hand – fingers interlocked, a firmer grip – “she’d give me free candy from the front counter. Whenever I came in with my parents, I mean. My mom was so confused about why I kept asking to tag along to Melvald’s with her.”
“That’s not fair,” Will laughs. “She never let me have any candy.”
“You were a menace all hopped up on sugar,” Mike points out. “I knew how to behave myself.”
That’s a damn lie, and they both know it. “Liar,” Will says quietly, leaning his head back against the wall. “You’re such a liar.”
“Maybe so,” Mike hums. “But I’m still the one who got free candy, so–”
“Mike!” Will shoves lightly at his knee, and Mike’s answering laugh fills the small space instantaneously. It’s loud – too loud, because they’re supposed to be hiding, goddamnit – but the nagging little voice at the back of Will’s head is vanquished almost as quickly as it came. “Shut up.”
Mike, as always, ignores him. “Why don’t we turn on a light?”
“The fuse is probably blown,” Will responds. “If there’s even a light in this stupid closet.”
“I mean this, idiot,” Mike says, and then clicks the flashlight back on. The batteries must be dying, because it flickers to life weakly, steadying out into a dim yellow-white. “Obviously.”
“Don’t waste the batteries,” Will says at once, trying to grab for it. “Come on, Mike–”
“Jonathan and Nancy will be here any minute and then we can go put in new batteries,” Mike says, holding it easily out of reach. “No point sitting in the dark, right?”
“Mike,” Will tries to protest, but it’s useless. Mike’s made up his mind.
Slowly, and a little far away, Will realizes what Mike is trying to do. He’s not being subtle about it, but subtlety has never been Mike Wheeler’s strong suit. He’s always been exuberant, quick and spontaneous with his actions, and this is no different. Sitting up close, closer than would be strictly necessary in any other situation. Turning the light on, despite the dying batteries. Telling Will about coming here as a kid, all those years ago. Making him laugh. Diffusing the tension.
Jesus, and he’s still holding Will’s hand.
A wave of affection washes over him, sudden and overwhelming enough for Will to feel borderline nauseous.
This isn’t fair. This isn’t fair. Mike can’t just sit here and touch their knees together and hold Will’s hand, and–
“Look,” Mike is saying, and then he’s holding the flashlight under his chin and grinning. “Don’t I look freaky?”
In all honesty, Mike looks fucking hilarious. The direct light casts long shadows across the dips of his cheekbones, the shapes of his eyelashes distorting wildly as he blinks. “No,” Will snorts, rolling his eyes. “You look ridiculous.”
“Really?” Mike grins, in a way that means he knows just how ridiculous he looks. “Not even a little?” He waggles his eyebrows, and the resulting effect is so comical that Will can’t help the laugh that bursts out of him, sharp and sudden and real.
“Mike,” he chides, for the millionth time. “You’re going to kill the battery.”
Mike looks way too pleased with himself. “Worth it,” he says anyway, as he sets the flashlight down. It evens out the sharp angles of his face, now that it’s farther away, lights his cheeks and nose and eyes up into something softer, more open.
Something about the steadiness of Mike’s expression is brighter than any source of light. Suddenly, it’s too much. Suddenly, it’s blinding. 
God. He’s so screwed.  “For what?”
“Getting you to laugh,” Mike says, simple and easy, like he’s reciting times tables instead of proceeding to turn Will’s entire world upside down on its pathetic little axis.
Will feels his lungs stutter on his next inhale. He looks away. “Don’t do that.”
The gleeful expression falters on Mike’s face. “Don’t do what?”
“Don’t,” Will says, “don’t– you’re being so– so–”
Mike looks caught somewhere between confusion and amusement. “So what?”
“So,” Will tries again, and then Mike moves closer, and the difficulty of articulating a halfway decent sentence immediately increases tenfold. “So.”
“So,” Mike echoes, shifting so the side of his thigh is pressed up against the side of Will’s. He’s being slowly backed into the corner, but the thought isn’t terrifying like it might have been five minutes ago. Suddenly, Will is overwhelmed in a completely new way. “So what?”
“Nice to me,” Will gets out. “Stop being so nice to me.”
Mike pauses, then says, incredulously and half-laughing– “What? Why?”
Bad choice of words. “You heard me,” Will says anyway, because he’s nothing if not stubborn. “You’re being too nice.”
“I should hope so,” Mike says. “I mean, you’re my friend.”
Maybe Will is imagining it, but the sentence feels unfinished. Like there’s a second half to it that Mike is keeping for himself: You’re my friend – right?
The obvious answer here is that yes, Mike is his friend. But that answer feels unfinished too, like a lie by omission. Will tries to imagine it, doing these things with anyone else – what it would be like if Dustin was holding his hand, or if it were Lucas sitting next to him this close.
The conclusion he comes to, almost immediately, is that it would be weird.
It would be really fucking weird.
That feels like– something. An admission, maybe. Because the fact of the matter is that things with Mike have always been like this, and they’ve never been like this with anyone else, and Will doesn’t think they can be like this with anyone else without it being the most unsettling thing that’s ever happened to him.
The silence, he realizes, has gone on just a second too long.
“Yeah,” he blurts out at last. “Yeah. Obviously.”
Something settles over Mike’s face. “Will–”
“Forget I said anything,” Will backpedals, a little bit desperate. “Never mind. Be as nice to me as you want.”
Mike bites down on his lower lip. It looks like he’s holding back a smile. “As nice as I want?”
Oh, no.
“Sure,” Will tries. “Do your worst.”
Mike lets out a shaky exhale. He presses in further, leans in closer until their shoulders are almost touching. “How about this?”
“That’s not nice,” Will says weakly. “That’s just an invasion of personal space.”
“Seems pretty nice to me,” Mike mutters under his breath.
Will inhales sharply. “Mike.”
“What?”
“What are you– doing,” Will whispers, stumbling over his words, just slightly, as Mike places a hand on his arm.
Mike’s gaze does not waver. “Is this okay?”
Is it okay? Will thinks his brain might be halfway to leaking out through his ears. This is–
This is–
“Yeah,” he hears himself say. “Yeah. Great.”
“Okay,” Mike whispers. He’s so close now that Will could count all the freckles spattered across his nose, if he wanted to. He could, and the thought is dizzying, dizzying – suddenly, it’s not the claustrophobia that’s making him feel like this. It can’t be, because Mike is in front of him, and he’s so close that Will could just lean forward and–
He could just–
“Mike.” And maybe he’s a bit of a broken record, but he can’t come up with any words other than his name. He clutches at Mike’s knee and meets his gaze and prays – to whatever deity allowed him to get trapped in a storage closet with Mike Wheeler two inches away from his face – that Mike Wheeler will find the courage in him somewhere to close the fucking gap.
He doesn’t, though, which is a sign that the universe must be majorly fucking with him. Not yet, anyway. Not anywhere near as fast as Will needs it to be – if this is what he thinks it is, it’s nowhere near fast enough.
In actuality, what it is is excruciating – the way Will’s heart is beating so loud that he’s sure Mike can hear it, in the proximity. The slow circles Mike is tracing over his other hand – the hand that he’s still holding. He’s so close that Will can discern the warmth emanating off him, the familiar scent of soap, can feel Mike’s eyes trained steadily on his mouth, and yet–
Either Mike is actually moving at a speed of one nanosecond per minute, or time has slowed to a near-stop around them. Mike’s grip on his hand is agonizing, caustic in all the places where they’re touching, each slow circle of Mike’s thumb against his wrist driving him slowly and steadily out of his mind. Do it, Will thinks, like maybe if he thinks it loud enough, Mike will be able to hear him. Do it, do it, do it.
Mike’s lips touch his.
The world stops moving.
It must, anyway. Or maybe it’s just that Will doesn’t think he’s breathing anymore – he doesn’t know if he can find it in him to remember how. All he’s aware of is this: Mike’s hands on his arm, his wrist. Mike’s leg under his own palm, warm and steady and pressed up against him in a smooth, unyielding line. The pressure of the wall behind him, the strands of Mike’s hair brushing against his face, and Mike’s lips – gentle, gentle, gentle, and nowhere near enough.
It’s like Mike is waiting for something. Waiting for Will, maybe.
God, okay.
Fuck it, Will thinks, from somewhere far off in his own head. Fuck it. Fuck this. 
“Will,” Mike whispers, pulling back a precious few millimeters, and that’s it. That’s all Will can take.
Will lifts his hand off Mike’s leg, raises it to his wrist and tugs. Mike topples into him with a small gasp, Will falls backwards into the wall, and then they’re kissing.
God. Okay.
Mike steadies himself quickly, braces a hand on the wall behind them and leans in, firm and enthusiastic. His hand, Will notices, faintly and with no small amount of affection, is shaking. Just slightly. Will’s trapped between them again – Mike and the wall – but this time he can’t find it in himself to care even the slightest bit. As if there’s anywhere he’d want to go that wasn’t here, as if he’d want to be somewhere without Mike’s hand carding through his hair, or without his lips moving softly against Will’s own, or the noise he makes when Will presses forward, too fast, too eager, too betrayed by his own fluttering pulse – something like a laugh, trapped deep in his chest.
Suddenly, it’s not enough. It’s not enough. It’s–
“Mike? Will?”
Shit.
In a flash, Mike pulls away, wide-eyed and pink-cheeked and breathing like he’s just run a marathon.
Shit.
“Yeah,” Mike calls, voice cracking just slightly on the syllable. “We’re in here!”
Shit.
“So,” Will says, aiming for nonchalance. He fails immediately. His voice cracks too. Great. “That–”
Don’t freak out, he thinks. Please don’t freak out.
Mike, to his credit, is not freaking out.
“Yeah,” Mike says, voice a little high-pitched but surprisingly even. He clears his throat. “Um. Yeah. You were–”
“Yeah,” Will finishes, rather lamely. He’s grinning like an idiot. He doesn’t even need to look at himself to tell. His expression is mirrored, perfectly, flawlessly, brilliantly, on Mike’s own face.
The closet door gets thrown open, and there’s a blinding, sudden light– “What the fuck,” Mike exclaims, squinting and throwing a hand up in front of his eyes. “Nancy?”
Jonathan peers around her shoulder. “What were you guys doing in here?”
Don’t look. Don’t look. Don’t–
Will can’t help it. He looks at Mike, and they immediately burst into laughter.
Shit.
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mewguca · 17 days ago
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sometimes i feel compelled to delete this account
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autisticrosewilson · 5 months ago
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So sick and tired of you bitches saying that Jason possibly being assaulted WHICH HAS BEEN IMPLIED MULTIPLE TIMES BOTH WHEN HE WAS ROBIN AND IN MODERN COMICS (not the Talia thing that was bullshit) WAS STOLEN FROM MIA!! DO YOU GUYS THINK THAT MIA IS THE ONLY CHARACTER EVER WHO HAS EVER HAD THIS SPECIFIC TRAUMA START BEING SERIOUS RN
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slothwithapen · 2 years ago
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To be clear as possible: why do you think the person liking your art does not reblog it?
I would like to know the thought process of Tumblr artists when they see that ❤️ without a reblog
I included the "likes mean just as much to me" option for those who don't wonder about this
Please share to fellow art friends and spread this about as much as possible
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the-sacred-now · 4 months ago
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An Open Letter to the Single-Issue Pro-Life Voter
What do you want more: For abortion to be illegal? Or for fewer abortions to occur?
There’s a reason so many of the Left think that all single issue pro-life voters are obsessed with controlling women’s bodies: because most of your official allies are more interested in punishing people for their pregnancies than in doing anything that could actually be called pro life.
But I know many of you really DO want to save lives, to make lives viable. I trust your hearts—because I used to be one of you.
I argued against abortion with the best of 'em, not because I wanted to push my religion into law, or to control anyone, but because of my belief in that life should be defended, and my genuine care for the unborn.
I’ve learned a lot. Some of my positions have changed, and some of them haven’t.
I’ve faced the fact that one person has the right withhold their own bodily resources as a matter of course. Even after our own death, in the United States, use of our body’s lifesaving resources is not legal without our prior consent.¹
I’ve faced the fact that “risk to the life of the mother” is a reality that stalks every pregnancy, always present and recently rising in the U.S., and a person has the right to refuse that risk.²
I’ve learned more about the dangers of ectopic pregnancies, the primary drivers of late-term abortions.³
I’ve learned the truth about blastocysts and how long it actually takes before an embryo resembles anything more than a bacterial culture, and what a 6 week pregnancy really looks like.⁴
I’ve learned that abortion was not even considered an issue for American Christians until after the religious Right lost the culture war around the Civil Rights movement.⁵
But even without all those factors, this counterintuitive fact would have stopped me in my tracks on the way to the voting booth: The number of abortions INCREASES the more legal restrictions there are.⁶
I’ve never actually stopped believing that human life begins at conception (however fragile, alien, and fleeting—especially if it fails to attach to the uterine wall, as happens to an estimated 30-70% of fertilized eggs). Ultimately, though, that’s just my opinion, founded in philosophical thought experiment and ~vibes~ and nothing else—not even the Bible.
But even if it were an objectively true and proven fact…
I would still be less interested in jailing the people who disagreed with me, and more interested in creating the world I want to see: a fair and free society, where sexual assault is rare, sexual education is clear and honest, unwanted pregnancies are few, healthcare is robust and continually improving, and children are desired and supported—before and after they’re born. And yes, in this world, abortions are as rare as they are free of fear and shame.
We may not be able to create this whole reality right now, but what we can do is decrease the number of abortions, in ways that are consistently shown to be reliable.
I’m pro-choice now. And I never had to give up on caring about babies.
I’m not asking anyone to let go of being pro-life. But I am asking you to join me in allying with the people whose policies support life in all its stages. Which is proven to inherently lower the number of abortions.
One party’s leaders push against contraception. Against the sex education that leads to more teens waiting longer before losing their virginity.⁷
Against creating infrastructure that supports people through pregnancy and beyond, against supporting people in feeding and educating their children.⁸
The other party wants to support people in making informed and independent choices about their bodies—which statistically leads to more confidence in saying “No,” or “I’m waiting,” or “Not without protection,” to sex.⁹
They want to support peoples’ health and well-being.¹⁰
They want to create a future in which children are a real option, an option compatible with getting an education, with keeping your income, with food and housing.¹¹
They want to rebuild a financial landscape in which a single income could take care of a whole family.¹²
I used to feel jarred and confused by having to choose between bundled-together policies that saved the lives of the unborn but left everyone else to struggle in a lack of support callously dubbed “freedom”, and policies that promoted abortion access as an important freedom, but aligned with my values of protecting and uplifting life in every other way.
Now that I know easy access to safe and legal abortion lowers rates of abortion, especially when paired with education, healthcare, and financial stability, my choice is more obvious than ever. My choice, as it always has been, is life.
*Sources linked in reblogs + replies.
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sapphireswimming · 15 days ago
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be ye warned: today I'm attempting to hit post limit (x2)
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minticecodes · 1 year ago
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I'm slowly getting through devil may cry v and got inspired enough to doodle again. Sure they aren't polished but I love looking at others' sketch dumps, it's like looking at a smorgasbord of ideas. So here you go. Read more for close ups of the other doodles. The ID in alt are the same as written in the text.
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[I.D. Digital art. A boy in a shirt hoodie, Nero, sits cross legged as he leans backwards to smile up at his companion. Said companion is a tall horned knight, Nelo Angelo, kneeling behind Nero. Nelo gazes to the side, but braces his broadsword by Nero, and his cape drapes around where Nero's sitting. Nero is rendered in light blue and red, Nelo is rendered in light blue, and they're brightly illuminated. End I.D.]
(Was thinking of 'Love Seeketh Not Itself to Please' by Indigomoods on ao3 while doing this one).
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[I.D. A number of digital art sketches, most prominently featuring Dante and Vergil from the Devil May Cry series. From top to bottom, right to left:
Headshots of two boys, Dante and Vergil. Short comic of a man (Dante) ruffling a boy's (Vergil's) hair. Sketch of two boys on a couch, one (Dante) looking concerned at the other (Vergil) in foetal position. Branches curl under the couch. Sketch of child Dante and Vergil in red and blue, running hand in hand. Thumbprint sized chibi child Dante and Vergil. Nero and Nelo sitting together.
Semirealistic headshot (DMCV Vergil) in blue. Boy (Dante) curled in a fire, and fire demon (SDT Dante) gazing at his palm against a black background. Loose sketches of a man's head, roughly scribbled out except one, and an angry cat with a sword. They're labelled in blue and red writing. Side profile of a young man in blues (DMC3 Vergil), face shadowed, a yellow ribbon curled in the background. Side profile of DMC3 Vergil. End I.D.]
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[I.D. 4 black and white digital pen cartoony sketches of child Dante and Vergil. Head and bust shot of a boy with slicked back hair and black turtleneck (Vergil) looking right. His brows are furrowed, eyes narrowed; he looks unimpressed. Below is a head and bust shot of a boy with shoulder length hair and white shirt (Dante) looking left with wide eyes and a fang toothed, wide grin. Centre close up of a cloaked boy (Vergil) glaring up, brow furrowed. His hair hangs over a shadowed face. One narrowed eye is visible. Right sketch is of a cloaked boy (Vergil) hugging a book to his chest, referencing a Visions of V panel. His one visible eye is wide as he gazes down with a small expression. End I.D.]
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[I.D. Coloured digital art over a black background. Two panels. Panel one is child Dante, arms hugging his legs as he sits within a fire raging around him. He's buried his face in his arms. Panel two is an adult Dante in his demonic SDT form. He gazes down at his clawed hand while the fiery core in his chest glows as the main source of light, casting shadows and red light against his armoured form. The tips of his claws seem to glow in the reflected light. End I.D.]
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[I.D. Messy sketch of child Vergil and Dante, running hand in hand. The two look at each other with smiles, Dante with a wide grin and Vergil with closed lips and determined brows. Their full expressions aside from the smile cannot be seen; Dante's hair whips back and covers his face while Vergil's face is eyeless. They're softly rendered in light blue and red, and bright lighting. End I.D.]
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[I.D. Messy sketch of child Vergil and Dante sitting on a couch, shot from behind the couch. Dante directs a concerned gaze to Vergil, his hand braced on the couch back as he leans closer. Vergil only looks down. His arms are curled around his knees. From the angle, his expression cannot be seen aside from a small frown. Under the couch slithers Qliphoth tree roots. End I.D.]
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[I.D. Chibi doodle of child Vergil and Dante, holding hands. Light blue and red ovals were airbrushed on the page, and a pen lined out their features. They have round cheek patches, like budgies. Vergil has a cartoony pout and a book tucked under an arm, labelled with a V; Dante has a toothy grin and is making a bunny ears hand sign. End I.D.]
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[I.D. 'DANTE' is evenly block printed in blue pen. Underneath are what looks to be the start of three portraits of Dante in black pen, but they're roughly scribbled out. The most detailed of the three scribbled out portraits is Dante's grinning side profile. He had sunglasses on. The only intact portrait is a shot of Dante from behind, from the chest up and face not visible aside from a grin. Carried on his back is the Devil Sword Dante, rendered in more detail than Dante.
Meanwhile 'VERGIL' is written in orange/red pen, but strikethroughed. Written above instead is 'PURR-GIL!!', an arrow pointing at a doodle of a cat holding a roughly drawn katana(Yamato). The cat is grimacing with furrowed brows. It has spiky fur on its head, a spiky curled tail, a thorn pattern on its arms resembling Vergil's coat sleeves, and fat round blushy cheeks. End I.D.]
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[I.D. Semirealistic rendering of DMCV Vergil from the neck up in three quarter view. He's painted in blues, with soft red shadows. He glares at the viewer, brows furrowed. His irises are a soft red, and he has eye bags. His lips are somewhat glossy. To the side is the blue color palette. End I.D.]
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[I.D. Stylised depiction of DMC3 Vergil glaring downwards in profile, from the chest up. He's rendered in blues, his face shadowed from the light against his back. Running over his skin are cracked gold lines, reminiscent of kintsugi. In the background curls a yellow ribbon in the same gold. He's wearing a sleeveless turtleneck and cravat. End I.D.]
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[I.D. Stylised black and white lineart of DMC3 Vergil glaring in profile, lips sneering, from the neck up. He's in a coat and cravat. End I.D.]
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[I.D. Messy comic.
Panel 1: DMCV Dante ruffling child Vergil's hair. Dante's face is out of the panel
Vergil (grimacing): "Dante!"
Panel 2: Vergil's staved off the hair ruffling, lifting up Dante's hand with both his hands. His brows are furrowed as he looks up at Dante. In the background is a laughing sound effect, that tapers off. 'HA HA ha...'
Panel 3: Adult Dante gazing down at child Vergil, arm hovering over him. His expression seems sad, despite the small smile.
Dante: ... I missed ya, Verge.
Vergil gazes up at Dante, a small question mark by his head. End I.D.]
#just a wall of rambly thoughts from a longwinded person here on out as a warning#devil may cry#dmc#dmc5#visions of v#artists on tumblr#visions of v spoilers#dmc dante#dmc vergil#nelo angelo#not tagging nero because i think anyone looking for him here wouldnt be satisfied#“holds head in hands” i love drama so much#I especially love characters with tangled relationships to their emotions and their loved ones so. yeah#this is also around the third time i started a game because of a music recommendation#...i think any dmc fans looking at this can guess what song started the downward slide to getting the fifth game#fun fact#it was the sibling unit who went 'add a tree behind the couch' leading to the implications there#they also guessed like#all the reveals around vergil's identities just looking at these doodles and hearing a bit about the backstory#which was funny to me. Man isn't subtle at all#I gotta learn how to do that thing where u can see extra artist comments if u click on a photo in a set. It doesnt seem like alt text?#i had extra Thoughts around some of these but didn't want to clog with extra text. Though they'd be summarised as 'handholding as a motif'#and 'aside from the original metaphor wouldn't it be fun for Dante to literally piece Vergil together again'#and when you wonder if he's acting right you wonder how much you really knew him#how much of his care is what you baked in as wish fulfilment#why can't you keep him from falling apart#something something houseki no kuni style visual shattering#something something Vergil has to do the heavy lifting to glue himself together#and the twins both have to understand each other (i.e. communicate) better for the pieces to stick instead of like#detritus getting in the way of a clean meld
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merrigel · 3 months ago
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Been way deep into Dragon Age lately (replaying Inquisition and now, just getting into Veilguard) SO!! Check out my babies!!
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lastoneout · 6 months ago
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haha I was already in dubious emotional territory and then I just had to see the EXACT kind of thing that triggers my fucking OCD so now I feel like crying because I cannot get this image out of my head no matter how hard I try to think about something else, it just keeps popping back up, can't wait for this to make me nauseous and keep me awake at night for the next week or two
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pixellangel · 7 months ago
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okay. i need to get this off my chest because i am feeling some very strong emotions about generative ai right now:
if you are using ai because you think your art/writing/music/whatever is bad, you are fundamentally misunderstanding the point of making art.
the reason artists (and when i say that, i do mean all types and mediums, not just visual artists) make art is not just to have a cool thing at the end - all of the satisfaction that comes from art is because of the humanity that goes into it. figuring it out IS the fun part. i'm sure most artists would agree when i say that the most satisfying thing that comes from creating is that moment when you're struggling with a piece and something just... clicks in your mind. you figure it out. that's what feels so good about being an artist!! the fact that you've learned all these minute skills that let you take your hands and body and mind and infuse a tiny piece of your soul into something you care about is so incredible and so powerful when you experience it. and, do note, i'm certainly using lots of flowery words here to get my point across, but it's not even a huge dramatic experience - it's tiny little things that are possible because of what you know and the skills you've gained.
maybe you're a musician and a song you've been working on just doesn't sound right until you adjust that one note and it sounds exactly how you imagined it. a sculptor who realized there was just one little piece of clay you needed to make your bust look like your model. an illustrator who has been struggling to get an emotion across on a character's face adjusting the eyebrow just enough to capture that complex feeling. a writer who finally managed to find the perfect words to describe a heartfelt moment. it's all because of you, the artist, no matter who "you" are.
you could ask some ai model about any of these. i'm sure you could get a few decent results. but, no matter how good that ai is - it could be the best in the world at solving your specific problem - it will never even come CLOSE to how it feels to create something that you care about, something that you put effort and passion into, something with soul.
you may think your art is bad. that's okay. making bad art isn't a crime, it never has been. people seem to think that its better to make nothing instead of making something bad, but you need to be able to make bad art to be able to make something you think is good. if you don't put in the effort to improve your art and instead lean on an unthinking amalgamation of stolen creativity, you'll stay stagnant forever. why not try to get better?
the time will pass anyway.
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asofterepilogue · 7 months ago
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I need the world to know that whatever you see of france during the olympics, it was done against our will and we did not agree to this. unless it involves a guillotine.
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daipeanutsaiban · 1 year ago
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A Victorian couple. (Leyendecker redraw)
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sadtrashking · 10 months ago
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I believe in qtubbo stubble + acne scars + eczema realness...
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REAL
i kept meaning to draw this and then getting distracted, you can tell the art block is starting to hit
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