#yes i dont care about you at all. yes i want to see you and hear about how you are. i dont care that i havent talked in a decade both as

[nvr-pass]

uugh can we stop trying to squeeze everything in a dichotomy already? (condolences to op, this is more @ the additions)

yes, there is a trend in media that is concerningly similiar to targeted advertising. media is treated more and more like a product(/"content") and less like art, and that sucks!

okay. that's no reason to act like "thinking about what you audience will think" is in and of itself the enemy of art. miyazaki's approach is cool and should be respected but there are many many other way to make art. you can make art that directly adresses the audience or plays with the audience's expectation, maybe using it to mislead or directly opposing it to create a certain effect. the concept of symbolism kind of relies of the audience bringing their own associations into the piece. meticulously planning when what information is revealed to build tension is technically "caring what the audience will think"! and it's basically the foundation of readymade sculptures! putting a urinal in an art gallery is not marketable, it pissed people off. duchamp's fountain is an influential piece that inspired unending discussion about the nature of art and if you take audience reception out of the equation your missing the point of the piece entirely. adjusting your piece to get a message across or piss certain people off does not necessarily mean you care about its marketability.

this is all in line with empowering artist who want to whatever the fuck want, whether that includes incorpating audience reception or not! both approaches need people engaging with new and unfamiliar art pieces on their own terms!! yes!! herein lies the call for audiences to be conscious of their own approach to media, which i also agree with. if you're whining about stuff not being tailor made for your comfort, you need to examine if you approach media as art or as content. stop consuming and start connecting with something.

the enemy is marketing. (again, correctly identified but unnecessarily associated with "caring about the audience"). authors are usually not in charge of marketing. this push is coming from the production companies, who care about what the audience will think because it affects profits. this struggle between creators and producers in the media industry has been going on for literal decades. (alex hirsch posting the ridiculous production notes disney gave him about what jokes were "appropriate" were everywhere at some point.) most authors very much would do whatever they want without worring about marketability, but unless they are as successful as miyazaki and can found their own production company, they have to put up with their producer pushing changes in the interest of profit. if anything, recent trends indicate that we're losing that fight, because huge companies have all the money and artists need to make rent.

there are of course creators who do this on their own, in which case they are kind of both the producer and the creator and are fighting against themself. usually it's either to suck up to the system by self-censoring before they can be censored or it's small creators who do actually have to do their own marketing. especially if your relying on social media and get numbers thrown at you all the time, it can be hard not to slip into the producer mindset. but if you're working on a passion project: please dont try to win capitalism at the same time. let the creator win.

you can't always tell who's a gleefull capitalist and who is just trying to make rent but on a societal scale it sucks to see this development. and it sucks that we let capitalism do this to our art.

tldr; kill the producer in your brain that tells you to be marketable! but also ... telling artists to be themselves will not make capitalism disappear from the industry.

fuck an "intended audience" how about we normalize engaging with new and unfamiliar art pieces on their own terms

[beevean]

Let's see why Trevor's important... hmmm... without him, Sypha would remain stone, Grant some goblin thing, and Alucard would still be catching Zzzs in his little coffin.

Belmonts are fucking important. Without Leon, there's no Trevor, and without Trevor, no Simon, no Juste, no Richter, literally the entire line is just BLEH, nonexistent, nada. Julius? Gone. Nonexistent. Nope. Not even a spec of sperm existing. Without them, Dracula would fuck shit up real bad. What, some random kid from the streets is going to pick up some magical item and be able to take down Dracula? No, the Belmonts had a reason to exist, and when Belmonts aren't around, you KNOW people are up in arms, terrified, "fuck, fuck, fuck, FUCK we gotta arm up, train for life, we're fucking DEAD if a certain asshole shows up again, we're reaching 100 years."

Trevors's KIDS marry into Helsing and Morris. Pretty. Fucking. IMPORTANT.

Ecclesia exists because, "holy shit, a Belmont isn't present to protect us, we gotta fucking do all this shit cause we are FUCKED. We are SO COOKED if Dracula gets up to his shit again, it's been 100 years, any day now, we gotta do something to beat his ass because, my god, we DONT HAVE A BELMONT WHO COULD TAKE HIM ON."

Alucard shows up in SOTN because what? "Holy fucking shit, the only Belmont around is literally fucking corrupted as shit, and since he can't protect the innocents from daddy-o, I gotta step in for him because what the fuck."

Tell me again why we are pissing all over the Belmonts in the anime? You know they literally have to make SOME excuse for Alucard and Sypha to not be able to be there with Trevor when he has to fight death. And then we see Richter. Richter, honey, are you doing good there? Yeah? Having fun? Having fun being the fucking tailbone of the series? Tailbone? No, forgive me for overestimating your importance to the story, the TOENAIL of YOUR OWN FUCKING SHOW. You, Belmont, and yet... What have you done? Besides cry at a river because oh no, mommy dead. And it isn't brought up again second season. Fuck, I guess we aren't gonna be traumatized that the only other mother figure is. A. Fucking. VAMPIRE.

I died inside when I saw Alucard in the first season, showing up to sAvE thE dAY. Oh my fucking god. No, seriously, my god, can we NOT have any moment without you, Alucard? Can we not just... not have you for a little while? Can Richter just grow the fuck up, have his little character arc, get fucking corrupted, and THEN your dumbass comes back from Hawaii or wherever your dumbass has been for the past 300 years since your threesome fucking DIED? I honestly don't even care if they decided to have him do a world tour instead of going to sleep for 300 years, just. COME ON.

They shouldn't have named it Castlevania. It should be more like: Nocturne: Fuck you, Richter, the girls called for Alucard. Nocturne: The Chronicles of a Sidekick. Nocturne: My Mommy died.

"Nocturne: My Mommy Died" made me spit out a lung because yes! Richter literally bonds with people through dead moms! 😂

writing.jpg

(but he makes sure to specify that Annette had it worse, of course, which gives me lovely S1 flashbacks of Annette looking down on him and calling him a child who doesn't know much of the world)

Anyway, I could talk about how the first show wasted the very idea they had, which is that Trevor is important to the gang because he's the Night Creature expert and because of his heritage he has all the tools and knowledge necessary to take out any vampire (since Dracula goes down attacked by his own depression, and Alucard is a massive cunt to Trevor precisely due to his Belmont heritage that he needs), or that it is incredibly obvious that the only reason the story jumped to 1792 is only so that they could bring back Alucard the fandom blorbo and provider of fanservice, who cares about some rando like uhhhhhh Simon Belmont... but your rant is a work of art and I want to print it and frame it on the wall. Beautiful. I'm in tears. I have nothing else to add.

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[two-entire-bits]

I have a confession. I do not care for the soc boys. I'm sure they have very interesting character traits and lore the actors and fandom have come up with and that is so fun and great and I know none of it and I am perfectly content with that. Shout out to all my mutuals who love the soc boys I hope you are having fun with your Ken dolls but I will not be joining you. keep slaying.

[translilithlesbian]

an actual post from them:

ID:

Anonymous asked: Why don't you like cripplepunk?? /genq

OP: hooooo ok so im going to assume you dont follow us because we have spoken about this at least twenty times by now (mostly me because i used to call myself crippunk and then stopped after seeing that it was an even more toxic environment than the aro community is, which is an incredible feat, but that is a rant for another time)

heres a quick summary

cripplepunk, just like most other subgenres of punk, is a circlejerk-"fuck yall, im better"-brand of punk that 'physically disabled' gatekeepers latch onto, because i guess they have nothing better to be doing other than wasting everyones time. the concept was created with the idea that 'physically disabled people need their own resources' which, while a nice thought on the surface, comes at the expense of literally anyone they dont deem

'disabled enough' and they advocate for the separation of 'physical' and 'mental' disabilities. couple that with the fact that disability is not an easily defined state and it's easy to see why this doesn't work.

this isnt some flaw or mistake. crippunk was coined this way by design, and its creator admitted to that. its an inherently flawed way of thinking and only leads to more infighting. it was never meant to peacefully coexist with mentally or neurologically disabled people, it doesnt take into consideration someone who is disabled by their mental illness, and it inherently believes that if you arent in some physical external form of disability, you are not disabled enough or in this specific way. and despite what crippunks would like for you to believe, they do not advocate for you, do not care, and will only tell you to "make your own spaces" as if you dont belong in the conversation surrounding disability rights.

we do not believe there is any feasible nor functional difference in what disables you aside from what kinds of accommodations and treatment you need. we are all freaks under the eyes of capitalism. the brain is a part of the body, and if your brain is disabled, you are disabled. for that reason, we strongly oppose the concept of cripplepunk. we believe they will not get rights by whining about how theyre More Oppressed than people with mental/neurological disabilities.

if youd like more on why someone might dislike crippunk or not feel included by it, theres a few movements in the wake of it, such as our personal favorite unitypunk. and if you want better explanations from us: heres the unitypunk tag on our blog, scroll through it.

and INB4 they find this post and throw a temper tantrum like they do with everything else: yes, we are crippled. a quick scroll of this blog should tell you as much. Imao. lol, even.

red

——

Yes, I am thoroughly disturbed. Now, like op, I am not sharing their name so they don’t get harassed but if you would like the @ of this account to block, dm me and do not spread it around.

This person is not punk if they are shitting on punk subcultures, which have existed since punk was made, and using aro ppl as a talking point of what not to be. Not to mention the creator (who is dead btw) did not have any guidelines on what counts as disabled as long as you are physically disabled in some way, and actually allows for intersectionality, like most punk subcultures (and even punk as a whole) does.

Ok. So. For the first time I have encountered someone who has put “cripplepunk” (quotes included!!) in their bio. And I’m sitting here like.

You are mad… that I want rights? Like… cripplepunk is literally just applying the punk mindset / social conventions to disability activism.

You do not like.. disability activism?

You don’t want cripples to talk to you???

HELLO??

[fujii-draws]

OKAY! Chatot rant in tags below! Read at your own discretion.

[boarprinceofdelusion]

Recognizing Early Signs of Mental Illness

[aroaceleovaldez]

Every description about Nico (especially the canon ones) describing him as “cold” can personally fight me. Nico is jaded, yes, and often closed-off and sometimes stand-offish and defensive but he is not "cold”. He cares SO SO SO MUCH about EVERYONE. He loves and cares with his entire heart constantly and that is a core part of his character. He doesn’t often make public shows of his affection but he takes care to be kind when it matters and doesn’t hide that he does care (usually, the only exception really being him being in the closet, but even then he only hid his crush specifically and not the fact that Percy is important to him). He fine with hugging his friends in front of a crowd and will sit with strangers at a campfire just so they’re not alone. I mean, heck, he’s an extrovert! We know this! He actively seeks out people and gets lonely very quickly and easily! If he can’t talk to living people he will chat with the dead! That’s how much he thrives on being social!

The only time Nico has ever been actively “cold” was the couple of months between TTC and BoTL when he was actively mourning Bianca. Nico is not “cold.” He loves so much and he does show it, just in his own way.

[pyrosomatic-metamorphosis]

something about qbad mentioning how much horror he put red team thru every time purgatory gets brought up... something about how proud dapper was of him.

like this is just my late-night read but- it feels like guilt qbad is trying to twist into pride. he keeps needling away at it. “i killed them all, over and over and over again.” “they were hunted by a monster.”

it’s like- reassurance. like a nail he’s trying o beat into his head. he’s had SO much trouble with legitimately hurting his friends, despite making that vow all the way back when the eggs first went missing, despite all the tree talk and the promises to save the kids no matter what. He never faltered with elq, and that protected them. He keeps faltering now. Sometimes he doesnt remember the code, or cucurucho, or skeppy. But that doesnt matter, right? Because he’ll protect the eggs. He’ll be the monster. he is the monster. he can and he will protect them even as his seams start ripping and he keeps breaking further and further apart. even at his worst, he’ll do whatever he needs to protect the eggs.

he’ll be the monster. wont he?

[dennisboobs]

every day i have to hold my tongue when m-cd-nnis shippers start sounding like frat guys with the way they talk about dennis' Secret Feelings toward mac. hey man. i don't actually think you get it. i don't think you understand what's going on between them.

[quinn-pop]

im not sure what happened to me but suddenly i love queen ripple and she’s my new dress up doll

anyway, let’s talk about her!!

taking the fact that ribbon’s name is ribbon entirely too far (and going off their designs) i think it’d be cool if ripple star fashions leaned into frills, bows, and long or exaggerated silhouettes

since the planet is literally just a heart shape i imagine their aesthetics lean into that sort of romantic and elegant vibe. a lot of ivory, pinks, and reds

(ripple dresses up a little different to see her friends tho)

also flower and butterfly motifs. because they’re fairies of course <3

think it’d be a little ironic if butterflies were a symbol of beauty and all that…

also she’s friends with carol and dedede. they can go to pta meetings or something /j

(taranza can come sometimes too because he’s cool and it makes sense to me)

btw ripple star probably exports a lot of silks (because silkworms in a land of butterflies feels right) and luxury items whereas dreamland is more agriculture focused + maybe some livestock and furs

…yeah i’m saying these places reflect their rulers basically. ripple star can be a little more traditional and whatnot. that’s what makes ripple so endeared to her dreamland friends—they’re silly! and yeah, tragic princess angle, it’s my favorite trope—i think that would really pull at her heart

i won’t get into that right now, but i gotta imagine getting possessed gives you a lot to think about lol

…gah i have so many thoughts on this

there isn’t much to go off of in canon, sure, but i think there’s a lot of interesting directions something like that could go ^^

[moonsidesong]

happy two year anniversary to the question that sent me careening down the river into madness (eternal obsession with the topic of object death and recovery centers)

[hauntingblue]

Jayce telling vi she won't make it on her own.... okay mr. projector...

[mirkwood]

Hara!! <3 28 for feanor/melkor for the kiss prompts? 👀 (also if i just unfollowed and re-followed you because i clicked the wrong damn button pls ignore it i am. very tired lmao)

MONA!!! HI! sorry this took me so long i was having a mental breakdown over it <3 But here it is!!! <3

Also everyone read the tags they hold important info, thank you <3

Prompt 28: As a lie.

Pairing: Fëanor/Melkor

They meet under the starlit sky and the mingling light of the Trees.

It is easy for them to slip unnoticed into one of the secluded gardens of Tirion, known only to a select few. Fëanor, draped in his black cloak, conceals the colors of his Father's House. Melkor, clad in darkness, blends seamlessly with the night.

It has become a habit. A pastime of sorts that both of them seem to enjoy. They sit together in the dark of the night, exchanging ideas and thoughtful words. Despite Melkor's past transgressions, Fëanor feels a sense of ease around the Vala. Each time, he allows himself to get closer to him, to get entangled in Melkor’s words.

Melkor is nothing like he had first thought. He is everything a Vala should be, majestic, just, and regal. He speaks and Fëanor listens, each word is like a gentle breeze against his face in the endless heat of the summer. Melkor moves gracefully across the garden, as if he can’t contain his restless energy, not after three ages of imprisonment. 

Fëanor leans against one of the walls of the garden and observes him as Melkor's fingers hover near the flowers, hesitant yet lingering. His hands possess the power to create and to destroy—a duality Fëanor has come to understand well. 

"Isn't this exquisite, Fëanor?" Melkor inquires softly, his fingertips brushing the petals of a flower. Fëanor watches, unsurprised, as the petals wilt and fall, the flower decaying slowly before his eyes. "How fragile they are."

“I've never had much interest in flowers,” Fëanor answers truthfully. His hands bear the marks of his work in the forges, his palms and fingers rough and calloused from the hours spent holding a hammer. 

“I know,” Melkor says, cutting the dead flower by its stem. “But surely, you can appreciate the beauty of decay.” 

He turns to face Fëanor, his eyes glinting in the faint glow of the Light. He reaches his hand out to give the flower to him, yet Fëanor pushes away from the wall and walks towards him. He stands in front of Melkor, craning his head back to meet his gaze. He is tall but the Vala towers over him. Fëanor reaches out, their fingers brushing as he takes the flower from Melkor's hand.

“Indeed,” he answers, and his voice comes across as a whisper. They are so close that Fëanor can finally look upon his face closely, his eyes wandering over the lines between his eyebrows and the curve of his nose. Melkor’s eyes, he realizes, have speckles of dark gray  beneath the red. 

Fëanor's gaze lingers on Melkor's mouth, contemplating the curiosity that has stirred within him for so long. He hesitates. He shouldn’t be doing this. Yet he leans in, so close to Melkor’s mouth that he can feel his breath on his lips. 

Melkor’s lips twitch in a smile and his hand comes up to cradle Fëanor’s cheek, the scent of the flower lingering on his fingers. It's an intoxicating scent that loosens Fëanor's inhibitions, drawing him nearer as Melkor closes the distance between them.

But just before their lips meet, Melkor pauses, a mere whisper separating them from what they both have been waiting for.

“Tell me you want this,” he murmurs, and his voice reaches Fëanor slowly, as if it is miles away.

“I don’t,” Fëanor lies.

Before he can regret it, he closes the distance between them, pressing his lips against Melkor’s in a tentative kiss. Melkor meets his kiss with shared passion, pushing him back against the wall he was leaning on moments ago. 

The flower is long forgotten.

Send me a ship and a number

[tommygotwrittenoff]

my favorite thing about bt is when there's an opportunity for buck and t to have a deeper connection, but then t just shuts it down. like, go girl, give us nothing!!!!

[widevibratobitch]

something about being told im 'the leading person at this whole academy when it comes to interpretation and stage intelligence' by the husband of the woman im trying (not really. but i mean. who knows) to seduce... ok boy you got me. lets make it a polycule.