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| :/ | That’s me falling toward a spike | | pit, with kind of an air of irritation |↑↑↑↑↑↑| about it. Sighh

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out of curiosity, does everyone have a certain type of character they get attached to or are urs random

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does your oc still go home to see their parents?

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thinking about my oc all of a sudden im so mad i cant search up pictures of him i have to make them myself FUUUUK

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I tried taking a break from constantly working on Dom&Mor comics to do some drawing for fun and got re-obsessed with my and my wife's ocs Rilu and Kye 😭

For newer followers, they're for a project later down the line called Solaris (might rename), a cyberpunk meets wuxia action/romance. Rilu and Kye are an enemies-to-lovers, slightly toxic nblw couple that communicate through their fists. I like to call them my "big cats," but some people call them "arms, the couple." I mainly wanted to see a butch/femme couple where they're both buff as hell lmao

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Lucanis and Raven, commission for @duxvitrum <3

Genuinely the most fun I ever had drawing wings.

(they/them for Raven)

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love her more than anythinggggg

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trying to learn how to draw anthro also !! it’s very hard and very fun

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So I was writing a small paper in Microsoft Word and the program suddenly crashed (I saved a couple minutes before, thank god) and I get this message in the corner of my screen two seconds afterward

what the fuck

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Sorry for the awkward crop but I am cooking.

But seriously, it is so facinating that this is such a defined trope. Like there are so few butches in media so the fact that three of them have so much in common is telling. I think it's interesting how these masculine characters are disempowered when masculinity is often associated with power in male characters. These women however are masculine while being trapped and limited.

Often these characters masculinity is even shaped by their disenfranchised position, i.e they have to fight to survive and thus become tough. None the less they also take pride in their gender expression and physical adeptness. This relationship to fighting is complex, it's both something they find some agency in, something Gideon and Vi could work on even while being trapped in a small confined space, but also something that is forced upon them, especially in the case of Karlach.

In the societies they are from, people with real power get to avoid getting their hands dirty themselves. Fighting is power exercised on a lower plane of society so even when the characters themselves can look physically imposing and threatning that doesnt translate to actual privilegde.

This link between oppression and masculinty can be relatable for butches and I think it’s a facinating way to make the characters expression translate well into our experience marginilzation. I also really appreciate how these characters are very compassionate and protective people, traits a lot of butches identify with and tie to their butch identity.

Not to get all anthropological about it but it makes sense that the characters who are confined to operate in a more fragmented plane of society also are very attached to their close community. In this sense, being traditionally masculine by being a good fighter, is related to their protective and compassionate qualities since both fighting and kinship takes place in very localised personal spheres.

I think this trope is a really neat exploration of how power isnt as binary as "femininity is opressed while masculinity is franchised" but that the intersection of identity massively changes the implications of masculinity and femininity.

That being said, we could really use some butch nerds. Desperatly, like I am begging. Like the type that would spend free time analysing fictional character on tumblr.

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Salice Feltracco: Remastered HD Edition

Bonus I didn't feel like polishing more:

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You Are Not Immune To fanart of characters who die in canon that has them alive and well, with scars from the wound that originally killed them

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Work in progress. The character is now fully rigged, but I need to do some fine tuning. Currently, the outfit feels a bit too basic, so I’m exploring some new designs to add more personality.

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Thousands of premature infants were saved from certain death by being part of a Coney Island entertainment sideshow.

At the time premature babies were considered genetically inferior, and were simply left to fend for themselves and ultimately die.

Dr Martin Couney offered desperate parents a pioneering solution that was as expensive as it was experimental - and came up with a very unusual way of covering the costs.

It was Coney Island in the early 1900’s. Beyond the Four-Legged Woman, the sword swallowers, and “Lionel the Lion-Faced Man,” was an entirely different exhibit: rows of tiny, premature human babies living in glass incubators.

The brainchild of this exhibit was Dr. Martin Couney, an enigmatic figure in the history of medicine. Couney created and ran incubator-baby exhibits on the island from 1903 to the early 1940s.

Behind the gaudy facade, premature babies were fighting for their lives, attended by a team of medical professionals.To see them, punters paid 25 cents.The public funding paid for the expensive care, which cost about $15 a day in 1903 (the equivalent of $405 today) per incubator.

Couney was in the lifesaving business, and he took it seriously. The exhibit was immaculate. When new children arrived, dropped off by panicked parents who knew Couney could help them where hospitals could not, they were immediately bathed, rubbed with alcohol and swaddled tight, then “placed in an incubator kept at 96 or so degrees, depending on the patient. Every two hours, those who could suckle were carried upstairs on a tiny elevator and fed by breast by wet nurses who lived in the building. The rest [were fed by] a funneled spoon. The smallest baby Couney handled is reported to have weighed a pound and a half.

His nurses all wore starched white uniforms and the facility was always spotlessly clean.

An early advocate of breast feeding, if he caught his wet nurses smoking or drinking they were sacked on the spot. He even employed a cook to make healthy meals for them.

The incubators themselves were a medical miracle, 40 years ahead of what was being developed in America at that time.

Each incubator was made of steel and glass and stood on legs, about 5ft tall. A water boiler on the outside supplied hot water to a pipe running underneath a bed of mesh, upon which the baby slept.

Race, economic class, and social status were never factors in his decision to treat and Couney never charged the parents for the babies care.The names were always kept anonymous, and in later years the doctor would stage reunions of his “graduates.

According to historian Jeffrey Baker, Couney’s exhibits “offered a standard of technological care not matched in any hospital of the time.”

Throughout his decades of saving babies, Couney understood there were better options. He tried to sell, or even donate, his incubators to hospitals, but they didn’t want them. He even offered all his incubators to the city of New York in 1940, but was turned down.

In a career spanning nearly half a century he claimed to have saved nearly 6,500 babies with a success rate of 85 per cent, according to the Coney Island History

In 1943, Cornell New York Hospital opened the city’s first dedicated premature infant station. As more hospitals began to adopt incubators and his techniques, Couney closed the show at Coney Island. He said his work was done.

Today, one in 10 babies born in the United States is premature, but their chance of survival is vastly improved—thanks to Couney and the carnival babies.

https://nypost.com/2018/07/23/how-fake-docs-carnival-sideshow-brought-baby-incubators-to-main-stage/

Book: The strange case of Dr. Couney

New York Post Photograph: Beth Allen

Original FB post by Liz Watkins Barton

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