Chase | he/him | mdni | i love morally dubious old men. see fandom list in pinned post. cowboy blog @pasta-pardner. I follow back from @chase2452.
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do not. respond to my doylist criticism with a watsonian explanation.

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when in doubt about whether or not to make a thing, do it for your 3 hardcore fans.
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STOP BEING SELF CONSCIOUS ABOUT YOUR CREATIONS STOP SECOND GUESSING WHAT YOU REALLY WANNA DO STOP DEBATING IT'S WORTH. LET YOUR ART SERVE YOU INSTEAD OF THE OTHER WAY AROUND
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it's so important for your health and well-being to get overly attached to a fictional man who is both deeply amoral and unbelievably, pathetically sad
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i love when a character has something terrible happen to them and as a result they see themself as, essentially if not literally, a ghost. and so that means they only can (and have to) do what ghosts do, ie get revenge and then cease to exist. easy as that. but then halfway through this ghost vengeance they realize hey actually i might still be a human person. with human needs. that’s incredibly inconvenient, considering how much i’ve invested in this whole ghost thing
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Happy Valentine's, posting this mini rustmarty comic fo today
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Kurosawa, with this striking shot from “Yojimbo,” revels in Unosuke’s cruelty. His smirk cuts through the chaos, his pleasure in the violence as undeniable as the flames consuming the frame behind him. Fire isn’t just a backdrop here — it’s an extension of Unosuke himself, a searing embodiment of the destruction he’s unleashed. Kurosawa lets the inferno take up space, mirroring both the town’s collapse and the sadistic glee of the man watching it burn. Unosuke isn’t just a villain — he’s a force of nature, grinning as the world burns.
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1. Strolling Along the Seashore (1909, Joaquín Sorolla) 2. Death in Venice (1971, Luchino Visconti)
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TRUE DETECTIVE 1x05, the secret fate of all life
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