#trying to fuck myself back into them

[witherbythesword]

I feel like a fucking feral animal that needs to be pinned down by the throat and stabbed.. i mean fucked argh no what i wanted to say.. is i need to be fucking sta

[onesidedradiostatic]

can we talk about how the weirdest part of staticmoth isn't even the fact that they're toxic to each other?

it's how they both react to each other's toxicity with nonchalance.

like. first, during val's tantrum, val throws a glass at vox, or well, in his vicinity.

then vox just... steps away like it's nobody's business, barely bothered by it.

and later, when it's vox's turn to be angry, he roughly pulls val down, shakes him, and shouts at his face.

then val just... shrugs it off.

usually when you think of a toxic relationship, you'd probably think of person A being toxic to person B then person B biting back just as toxic until it's a back and forth of toxicity, a full-blown fight.

but that. that's not staticmoth. staticmoth is fucking weird in that when one is acting toxic towards the other, the other acts nonchalant and doesn't retaliate. then they switch roles on who the toxic one is and who the nonchalant one is.

I am not at all denying the toxicity in their relationship, but they certainly are a really fucking weird brand of toxic that is just. so hard to describe.

[deoidesign]

One of my first digital pieces (2010) versus one of my recent ones (2024)

We all start somewhere!

[0m3n-0f-d3ath]

Terry and Korvo

[whump-in-the-closet]

i love love love when whumpees curse out their whumper. blood trickling out with their words, teeth bared and every sound vicious. and when the whumper replies by leaning in with the smallest of smiles and strokes their face. “careful.”

and whumpee whimpers. shrinking back, the bite in their eyes fading into terror. crying, shaking, pleading.

[skitskatdacat63]

2011 Italian Grand Prix - Vettonso

[b0nelessdoodles]

some future bits of creme uni where sm grabs two of pv's patients and makes them start fighting for reasons that he does not explain to his husband beforehand and he will get his head ripped off about (literally)

as always more details in the tags

(non-text version 'cause its fuckin' funny)

[bigkickguy]

daanmarcoh doodle - they're sleeping in shifts and keeping watch

[luck-of-the-drawings]

smth smth about 'the thing that the character did that you thought was rly rly funny in the moment is actually linked to a terrible trauma that lies within said character.' or wahtever.

[whumpbby]

TBH I do think some Jiang disciples did survive the Lotus Pier massacre, if only because they had been elsewhere when it happened/too old or too young to fight so they ran (<-which could be a fun thing to grapple with for both the potential run-aways and newly recruiting Jiang Cheng, who was sent away), but it still wasn't enough people to be called Great Sect. So I think as you say they recruited anyone they could, including some rouge cultivators and some from smaller sects that were destroyed or taken over by the Wen Sect. I don't think they tried to recruit - while the Sunshot campaign was going - a lot of people without active golden core, because they would simply have little time to train them between the battles. Some probably did manage to join the Sect like that, and these would probably grow quite close to people who taught them between the fights.

Also Jiang Cheng having to be at least one of these teachers, because they are short on the disciples but shorter in those trained in Jiang style even more so. And how after the war he must've been doing that still, on top of having the sect to run as both Leader and Head Discipline (because Wei Wuxian was going through things he chose to neither explain or acknowledge) (1/2)

(2/2) Also Jiang Cheng, who almost had to watch his brother get caught by the Wen soldiers when he went off alone in the streets, WOULD try and make his disciples work in big enough groups to protect themselves. Also also Jiang Cheng that seems to go off alone rather often.

Oh, and Jiang Cheng throwing his weight around when his disciples get into some sort of disagreement/scuffle every time, and being harsh on the other party (totally not because of finally being able to shield someone he cares for) and never satisfying the questions about the punishment (totally not because of his mother and Zidian and Wei Wuxian). Even when Jiang disciples were in the wrong. Not meaning there was no disciplinary action, just that it never went outside the sect.

Also taking in some non-cultivators that are good at other things (like Jiang Yanli!) or people who lost their golden cores but can still fight and teach (because he remembers not having a golden core and how that felt like; and maybe he realises somewhere along the way that he might've been able to live without one too; which would certainly add even more flavour to learning whose golden core really was inside him all along).

The latter headcanon is also so amazing because resurrected Wei Wuxian would have to confront how he dealt with the loss of his core and finally stop saying he is fine and reflect on his feelings about all this, including Jiang Cheng

____________________________________________________

Thank you so much for sharing your thoughts with me :D I am so absolutely taken over by this subject!

This is why I'm writing these things, I love to discuss them with other peeps:)

Your message pushed me onto another path of wild speculation via the mention of the other smaller sects that JC would approach to recruit - and that pushed me into the economics of Jinaghu and their influence on the post-war lay of the landXD

Which I am putting under the cut, because it's a lot of rambling to get to a point, but that's how it is in these parts;]

Also, the map I will be using, because it's as good as any other:

From the beginning - smaller sects yes, there was probably not a shortage of them that were destroyed by the Wen passing through and by the blowback of the war happening at all. I imagine that anyone from lone survivors to whole families was displaced…

But I am unsure if inviting them in would be a good idea in JC's position, because, going back to the main point - the Jiang were decimated. I can only go by what the story tells us when it doesn't mention any extra survivors - the Wen banning other sects from night-hunts was a nifty set-up for everyone being stuck at home after all - even if, logically, some of the disciples could be in other locations… however, even if they were, these wouldn't be the meat of Yunmeng Jiang. Because…

…random tangent no 1, because this is a low-fantasy setting (thinking of Game of Thrones I am), I am structuring the Sects as Just Gentry. Maybe not kingdoms outright - because there doesn't seem to be enough land between them to cover for their economic statuses - but city-states ruled by aristocratic bloodlines with the actual political power in their hands. Thus, even if the book doesn't really go into it, I'd wager that the region of Yunmeng was run by the extended Jiang family that was living in the capital of Lotus Pier. That's where the disciples were trained - but that was most likely also where the taxes were being collected, where the trade arrangements happened, where the law was being written, higher education took place, it had the best restaurants, etc.

When the Wen destroyed Lotus Pier, they did away with the whole socio-economic and political setup of the region, which is a smart move for someone who wants to set up their own shop.

…And that circles me back to JC and recruiting - he wasn't just gathering disciples to fight, he was rebuilding a whole intricate system of governance from scratch. A system that used to be run by the extended family that he could trust - now was something he was staffing with strangers.

And, from the example of Su Minshan, we know how jumping sects was considered to be in bad taste - it stands to reason that whatever decimated sect showed up on JC's doorstep, they wouldn't want to give up their own name. Just like JC wasn't going to give up his name. These people would be looking for an alliance and revenge, and, most likely, economic help in their own rebuilding, but most of them weren't looking to join the Jiang. And if they were - what was the guarantee that they'd stay? Or that they wouldn't use JC to meet their own ends and leave him worse for it? Or simply take over due to sheer numbers? A valid fear for a clan of 1 that had to seem ripe for picking.

I think JC would be very careful about accepting disciples from existing sects as his own, and instead build alliances with them. A rogue cultivator or a promising youth looking for a place to settle were a safer bet to build the core of his new sect with. Not to say that some of these alliances wouldn't result in the smaller sects merging into the Jiang later on by osmosis, but not at the outset…

Which leads me to believe that JC would want to start taking in and training coreless youths as soon as humanly possible - just to have someone at his back who was OF Yunmeng Jiang and not just allied with them. Maybe not during the beginning of the war, but by the time Lotus Pier was reclaimed things were probably going this way. If you think about it, Jiang Cheng was a fucking powerhouse of a leader. I have no idea when he slept. Probably not at all.

Probably why he was so cranky XD

That's why I am of firm opinion that the alliance by marriage with the Jin sect was a double-edged sword JC wasn't in a position to refuse, but also wasn't in a position to wholeheartedly accept. (And everyone who thinks that JC 'sold' Yanli to JGS for all these doubloons is just plain old wrong). Because now they're family. Only family he has. And that family can slowly find their way into the important positions of his own 'kingdom', because that's how gentry/aristocracy tends to work in a setting putting that much value on bloodlines, and he doesn't have his own family to plug these positions with ahead of time.

And even if JGS wasn't super eager to marry his son to JYL and the marriage was mostly pushed by Madame Jin and Jin Zixuan - it was in JGS's best interests for Yunmeng Jiang to remain weakened and/or under his control. Because….

…tangent nr 2- economics! :D

The plot doesn't go into it, but I like to know, so I was thinking of the actual economics of the magical land of magical peopleXD I don't need them to be detailed, but just realistic enough to make some sense, and serve as a believable background. I'm not going to question the existence of potatoes or other anachronisms, but one thing I needed to answer for myself was - where is all the money coming from???

Like, for real, where is the cash coming from for all the silks, fancy furniture, houses, swords and so on. How are the gentry sects making money?

Again, the genre, like many others, waves away monetary concerns in general - aristocrats are just wealthy, commoners are poor, and Bilbo Baggins is a landlord. OK.

So, taxes. What makes sect a Great one? Land, mostly, it would seem. The amount of land they own. Which means taxes - if we consider the Gentry sects local aristocracy. That tracks, because ain't no way they'd earn that much dosh via night-hunts from a population that isn't really that large. If you look at the approximate map of the whole realm and consider how fast people are moving from one region to another (even including flying swords and donkey-travel) that ain't a lot of land/people to feed all these sects fleeting about between the 5 Majors.

So, my idea is that the small sects do support themselves mostly via night-hunting and general spiritual upkeep of their locals, but the Greats are just aristocracy and live off of taxes and trade.

And that makes me wonder how Yunmeng Jiang managed to recover their wealth in such a record time, and why was the Jin so wealthy for apparently doing so little.

I propose that Lanling Jin grew out of a port-city and made its money on sea-trade. Sea trade was always The Shit if you wanted to, dunno, gild your palace in gold or something.

Yunmeng - with its access to lakes and rivers - was another trade hub of the realm with the additional bonus of lotus, fish and all other crops a well-watered land can give you.

Qishan - being the most West-ward placed of the Great sects we know of, had to have access to - or even monopoly over - the intercontinental trade routes, or a lot of raw materials available. But at the same time, being a mountainous region, it wasn't rich in water and water-intensive crops. I think that once the material appetite of the Wen upper echelon grew, the more they needed to look towards consuming other regions to sustain it.

Annexing Yunmeng was a good strategy from that point of view - it fixed the water issue and also opened new trade routes towards the South and East via the rivers.

But then the Wen were defeated - and all that West-ward trade potential suddenly was left unattended, and JGS would be a fool to let it slip through his fingers. And the only 'large' clan placed close enough to was Yunmeng.

Stands to reason that, somehow, JC managed to wrestle some of that for his own people to refill the coffers. Gusu was too far and not a trade hub by any means, and Nie Mingjue/Huaisang seemed uninterested in reaching out for it, so the only serious competition on that front were the Jin… Which, again, JC somehow managed to outsmart there, because I do not believe for even a moment that a fierce economic battle wasn't fought as soon as the military operations ended.

[imavikingo]

[puhpandas]

I think about the tapes so often the badass dialogue they use to build tension in 46 the storytelling of both Vanessa's past with abuse and showing it still affecting her and her STILL being abused by glitchtrap/mimic and actually truly for real showing that on screen canonically in a game. steel wool having the chance to put in love and effort into the writing of the human characters. the vanessa tapes being about her but also being about showing GGYs progress keeping everything under wraps and how powerless vanessa is to stop him or vanny or glitchtrap. the 46 tapes giving us cute little information about Rabs character and being so sinister with great voice acting and great writing in the dialogue to tell all this information like GOD. I miss the tapes sooo much I want them to come back so bad they were some of the only surviving actual writing from SB and I know steel wool is still capable of cooking like this. they just havent gotten the chance!!!!!

[deoidesign]

I met the me who made different choices

[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.

[sundial-bee-scribbles]

Let us pray for [y]our salvation.

and here's two views of the window w/o geki b/c i spent way too long on it lmao:

[kyluxtrashpit]

Every time I try to write lately, I just can't get anywhere with it :/ I can string words together but they feel empty. Events happen, but what story are they even telling? There's no emotion, no depth, so substance at all. I just can't make anything that's about or says anything at all and idk why :/