#Tried Perspective again

[rev-dreamscape]

" I've got a recommendation for you! The ULTIMATE ESCAPE!!! Eventually, you will be saved from being lured into sweet traps? "

Just pretend the hands look fine, I spent so long on this.

[mxmarsbars]

he’s so gorgious

speedran this trend on twitter dot com ^.^ I love turning middle aged men into cutie pies

[etcseacow]

Forbidden treats part 2

[cnth-rb]

You can blame @1ichtbringer for this

[tobethemselves]

I’d love to know why Louis is ONCE AGAUN forced to stunt! WTF! Why?!!!

I understand your frustration but this is sadly the reality for a lot of closeted people in the industry. And if you look at what happens in the US and so many other countries at the moment, I think it's really clear why Louis and Harry decide to stay in the closet for now, and stunting to appear straight is part of that.

And as much as a lot of us hate it, it's a big part of the industry in general too. Not only for queer people, a lot of stars use this for several different reasons, mostly to promote a project of theirs, stay relevant and create stories that will keep their names in the press.

Apart from that I don't really see Louis or Harry being forced to do it anymore. If they are stunting now, it's definitely something they agreed on. And that doesn't mean that it's their fault, it means I think they have more ability to have a say in things since they started their solo careers.

If you want to read more about why so many stars including HL do stunts you can look through my hashtags PR STUNTS, LOUIS' CAREER and MUSIC INDUSTRY. And I also recommend reading these posts here and here.

@daisiesonafield-blog has a lot of information on her blog too, it's very organized if you go there on web.

[gonchillunchis]

ancient josuyasu doodle (circa 536 a.d)

[dumflowr]

EMPIRES MUSICAL ATTACK!!!

[ilikemicrowaves]

Okay. Slay king I guess.

[mewkwota]

Upon entering the [control] room, the chain of events [for reinitialization] will finally begin. All he needs to do is say the word. There is music playing. Someone is going to die.

Unsurprisingly, I want to continue my personal rambling over Juno's design and the concept of marriage. I was reminded of it when he brought up the procedure he follows to initiate his Very Evil Purpose.

Juno begins communications with Eden the moment he enters the control room behind his chamber, and everything will play out smoothly so long as he stays there. A smiling figure in all-white, who walks across a large room toward something they've long awaited for.

It was like he was made for this. Oh wait, yes he certainly was. Let's hope that no one came in to ruin the moment. Oh wait, yes someone did.

Here you can see me hastily wonder how in the world could Juno hold a bouquet without crushing it then I gave up, so you can imagine someone else is holding it up for him (who'd even care do to that?). There's nothing really reminiscent in his design to a bouquet, I just wanted to draw him with one, y'know, to complete the look.

As for the bouquet, it's made up of white lilies and chrysanthemums.

[aroanthy]

kiryuu sibling stasis post-32 is so interesting to me. nanami tries to leave and is (temporarily but also, crucially, violently) prevented from doing so by touga and akio. after this experience she puts distance between herself and them: she leaves touga’s phone in the car, she resigns from the student council (though she dons her old uniform still), she repeatedly dismisses and undermines the authority of the rose code, of end of the world, of akio, of touga. but she’s still in ohtori, isn’t she? uncomfortable with the idea of leaving, uncertain if it’s really possible. she tried before, and it hurt her. deeply. it’s so interesting to me, nanami’s agency and how she limits her exertion of it after 32, when she realises it for what it is. contrast that with touga, who accepts this weird stalemate between them, who is, really, uninterested in having any relationship of any kind with nanami if he can’t gain something from her. he’s very passive with her after 32, compared to the passivity he’d always feigned towards her before in order to stoke reactions from her and then exploit them. i was thinking about how touga has always been able to sever his relationship with nanami, but chosen not to; first out of a sense of obligation (‘we should live to help each other’) then a realisation of how that could be exploited. i was thinking about how nanami has never realised her ability to leave, in part because it is limited by touga and the harm he does her. i was thinking about the desperation and confusion akio calls out to anthy with as she leaves. i was thinking about how different that is to the kiryuus’ strange semi-breakdown; touga doesn’t want or need nanami, and nanami might love her brother but she cannot trust him or feel safe around him, doesn’t want to see him anymore; she’s itching to leave, and just a little scared (you know, because last time she tried that her brother assaulted her), and he’s not doing anything because ignoring her means he doesn’t have to deal with the emotions of her leaving or staying. something something gendered power dynamics something something tragic siblings

[le-artpotat]

Jesus, how do tf comic artists draw pages upon pages of these mfs? My brain cannot comprehend all the geometry.

[joons]

This may be a prickly subject, and I'm sorry if so. But I'm trying to learn more about Elvis, and every time I bring him up to people I know, they try to tell me he was this terrible person, and point me toward Priscilla's book, the movie made on it, and the discourse. Idk if you've talked about it on here (I tried searching your blog but couldn't find anything on it). If you're willing, I'd love to hear your take on it so I can see a more nuanced view.

The film Priscilla was greenlit roughly a month after Priscilla herself was informed that she was close to becoming financially insolvent in 2022. With a business partner, Brigitte Kruse, who allegedly helped broker the film deal, she established a limited liability company called Priscilla Presley Partners that was supposed to use her image and likeness to create several lines of merchandise to coincide with the film's release. That business partner is now suing Priscilla because she did not have the rights to her image or likeness, or any ability to use the Presley name, because she had already sold all of those rights and was no longer considered in good standing with Graceland or Elvis Presley Enterprises. The entire business deal, then, according to the lawsuit, was built on her misrepresentation of how much her image was worth.

The deal between the two of them fell apart after Riley Keough, Lisa Marie's daughter and Priscilla's granddaughter, settled with Priscilla to give her a lump sum of $1 million from Lisa Marie's estate and yearly amounts of $100,000. Priscilla sued very shortly after Lisa Marie's death because she thought Lisa Marie's signature on a will had been forged because Priscilla was not included in it. All of the assets were supposed to go directly to Lisa Marie's son, Benjamin Keough, who died in 2020, and her three daughters, two of whom are still teenagers. Now, part of those assets have been claimed by Priscilla and her other son, Navarone, who has no connection to the Presley family and has stated he is glad Lisa died.

Four months before Lisa's death, Lisa wrote to Sofia Coppola and made it clear she had strong concerns about the Priscilla film and was suspicious of the intentions behind it:

"As his daughter, I don’t read this and see any of my father in this character. I don’t read this and see my mother’s perspective of my father. ... I will be forced to be in a position where I will have to openly say how I feel about the film and go against you, my mother and this film publicly."

Lisa was enormously grateful for efforts put into 2022's Elvis to find her father's soul and to restore his dignity in a world that often turns him and his family into a joke:

"You can feel and witness Baz’s pure love, care, and respect for my father throughout this beautiful film, and it is finally something that myself and my children and their children can be proud of forever."

It is such a strong and powerful statement, to see how much Lisa valued family, not just her father but her own children and their legacy, and how willing she was to speak up no matter what was going on in her personal life to say what was right. On this and many other things, Lisa and Priscilla's values have rarely been in alignment. A friend and EPE business associate, Joel Weinshanker, said of her, "Lisa couldn't be bought, she couldn't be pushed. If she felt that something wasn't in Elvis' best interest, it was never about money. And she really is the only Presley that you could say that about."

Priscilla, though, has adjusted her stories about her time with Elvis almost every time she discusses it. For a quick example, she said in her book, which was released in 1985, that Elvis insisted she do her hair and makeup a certain way, that he had control over her look and would get upset if she didn't dress how he wanted. But in an interview with Ladies' Home Journal in 1973, she said that she made a deliberate choice to attend makeup school so that she could learn how to style herself, and that it was her idea to wear big, black hair and big, black eyeliner. She said she was embarrassed for going overboard. She said, "I wish that Elvis had said something, but he must have liked it because he never commented." This lines up with recollections from Patti Parry, a platonic friend of Elvis' and a hairstylist, who said Priscilla always wanted Patti to do her hair in a "big boombah," but that Priscilla would then get upset when Elvis didn't notice or didn't like it.

These changes are impossible not to notice if you follow her for any length of time. At the film premiere, she said it felt just like watching her life and said she was consulted on everything, since she was an executive producer. After the film came out, she said she couldn't understand why Coppola had changed so much about the story and misrepresented events. In the '70s, she said she and Elvis lived almost totally separate lives, that she came and went as she pleased, and that she loved this freedom. Later, she said she felt completely stifled and trapped and never left the house, even though she had friends she went out with all the time. In 2019, she tweeted a forceful denial about a National Enquirer story: "This is the Enquirer folks... please don't believe everything you read. ... Never planned on being buried next to Elvis. What will they come up with next?" But part of her settlement demands in her lawsuit against Riley in 2023 asked "to be buried next to Elvis." This year, she said in two separate interviews that Lisa was with her when Elvis died and that Priscilla had to break the news to her, despite the fact that Lisa was at Graceland when it happened. She has said she gave Elvis the idea to wear belts on his jumpsuits, to have a lightning bolt as his logo, to sing "An American Trilogy," though none of that is true. She retells the story about forcing Elvis to burn all of his spiritual books to prove he loved her as an almost funny anecdote about debrainwashing him, while Elvis later said it was the worst thing he ever agreed to, a desperate attempt to make her happy by giving up the things he valued the most. (For the record, this is my opinion about their relationship on both sides: thinking they could change themselves and each other to make it work. It never did.)

Every secondhand Elvis account has to be treated lightly and only valued for its consistency with known facts and other witnesses. I try to give enormous benefit of the doubt to anyone in the Elvis world because they often only have partial knowledge of what Elvis may have been thinking at any given time, and there are numerous examples of people who were taken advantage of by unscrupulous journalists who changed the story they wanted to tell. But Priscilla's stories sometimes are not even consistent with her own statements, which makes them very poor options indeed to base anything on. However careful we are about noting potential biases and inaccuracies in other memoirs, we have to be triply, quadruply careful with anything in which Priscilla involves herself because she has a vested interest in generating discourse today in order to make money. Unfortunately, Priscilla has a habit of stifling other accounts or making sensationalized statements each time there is a possibility that she will lose some of the cachet that comes with being an Elvis Source—after Elvis' death, when she believed she was going to inherit his airplane and disinvited everyone that Vernon said could fly in it to his funeral; when she sued the parents of one of Elvis' ex-girlfriends after he died because he had allowed them to live rent-free in a house he bought for them; when she claimed that Elvis wanted to reunite with her before his death, despite the fact that he was engaged to someone else and told many people he couldn't see a reunion ever happening with her; before Vernon's death, when she convinced him to make her an executor of the Presley estate until Lisa came of age; after Lisa came of age, when she convinced Lisa to let her stay on as partner; when Lisa accused Priscilla of misspending Lisa's money, during which time anonymous sources cropped up to say Lisa was in debt and drug-addled; when Priscilla was removed from her position as an EPE spokesperson but kept collecting $900,000 a year from the company; when Lisa died, and Priscilla sued once she learned she wasn't in the will; when Priscilla was no longer associated with EPE and decided to do another adaptation of a book that she has since recanted parts of and has contradicted before and after its release.

When Priscilla thinks there is a threat to her image and position, she does new interviews and projects to muddy the waters and stir public interest, whether it is true or false, positive or negative, laudatory or defamatory. She gets corrected by Elvis' surviving family members, girlfriends, friends, and fans, but these stories do not get the same reach no matter how much they are backed by contemporaneous documents and witnesses, or how many resources there are to educate the public on how Elvis' and Priscilla's attitudes about marriage and relationships changed—along with the rest of society—between 1960 and 1970.

I think almost any single-source project is not going to advance our understanding of Elvis in any way because no one individual can speak for him, and we are kind of obligated to include all the context we can in order to appreciate his character, his successes and failures, flaws and virtues—and to treat both himself and those around him as fully three-dimensional people who have their own blind spots. Priscilla is far too aware of her own image, and far too willing to change it to suit the audience, to be particularly valuable here.

She is next scheduled to appear at the Lexington (Kentucky) Comic & Toy Con.

[angeart]

Howwwww did you angst the world tour?? 🎀

this question made me giggle so much oh i'm glad you asked :3c there was so much yummy grian angst in the hc world tour!

it's all about grian and his penchant for destruction. he doesn't even mean to! he's not trying to be pesky; quite the opposite. he's curious but restrained, trying to be good, trying to follow instructions. he's not malicious at all! he's just there to see what people were up to, open and friendly and curious, eager to look and learn and praise. not a bad intention in sight... and yet things seem to break wherever he goes. everything he touches goes wrong.

the guilt churns, acidic and overwhelming, and grian's miserable. why is he like this? he's trying so hard, why is this the only way he can ever be? why can't it stop?

spoilers for grian's world tour video below <3

plantie pointed out to me how, during the tour of scar's train, when grian got rid of scar's arrows—the glitched ones that doc put there—he was so desperate to point it out after scar just glossed over it. as if he wanted to show that he can do something good. he can be helpful, he can fix things instead of just breaking everything.

but then we have all the other things, right? grian can't escape it.

when he was with etho and the mushroom farm exploded, he sums it up in a wretched if confused apology: "i'm so sorry. the two times i tried to use it, i broke it :( and created a water source floating— which i don't know how it happened— and flung the TNT, which i really don't understand—"

they move on, but it's so clear it lingers.

etho isn't blaming him. he's amused and brushes it off and moves along, unbothered, but grian himself can't wrap his head around it. about that propensity to breaking things, even unintentionally. the way nothing is safe around him.

he tells etho: "i can't stop thinking about your mushroom farm. why does everything i touch break, in new and unexpected ways?"

(not to mention when etho's showing him frogger and grian plays, almost instantly etho goes: "uh-oh, the game's broken", with a little huff of laugh. it wasn't exactly tied to anything grian did, but still something i wanted to point out, since grian was there for it <3)

and then grian goes to zedaph, right?

the very first game zedaph shows him. the very first. grian plays the way he was told to, the way he was meant to, and— he breaks it.

zedaph just laughs and moves them on.

(just sprinkling in a side note that zedaph's furnace minigame also didn't seem to work the way it should've—)

by the time grian gets to pearl's, it's starting to be a pattern that's so clearly eating away at him, making him anxious. he doesn't want it to happen again!

and yet.

pearl invites him to play her wordle game, and grian mindlessly goes and pushes the wrong button trying to start it... instantly stepping away with a quiet groan of a dread-filled "...oh-" followed by: "i just— ruined it already."

there's something about the mood switch. the way he seems more restrained and tame, silently upset with himself, trying so hard not to mess things up further. questioning why this is happening again. why he can't stop making it happen.

he walks over to the reset game button and asks, carefully: "can i press reset? is it gonna hurt? 🥺👉👈"

pearl reassures him he can, with a sigh noting that it'll just take a while.

there's an almost hysteric laugh from grian, followed by an exasperated, upset scream. "everything i touch breaks! when i went to e— i broke etho's thing when i went to— not frogger, his— his mushroom farm i— it blew up."

"you blew up his mushroom farm?? how? what did you do?!"

"yeah, i— i broke zed's game, instantly, pretty much, it's—"

"oh my gosh :("

"sorry 🥺"

pearl is quick to reassure him, though. "well, luckily for you, this is— you doing that (pushing the wrong button) does not break the game. it's just, you now have to wait for it to reset."

she makes sure grian knows that he didn't mess up anything terribly here. he didn't break pearl's game. it's okay! it's fine!

and then grian right clicks to open the book, and instead makes bonemeal pop out of a composter.

i think at this point pearl is a little bit taken aback by how wrong everything really seems to be going around grian. she makes sure to say, "it's fine," again, just so grian won't start worrying about it all again. "you're clicking on everything that people do not usually click on today. but it's okay. it's still not broken! it's not broken, it's alright, it's okay— i've got failsaves for people like you."

it's so sweet how she really tries to soothe him— and yet she can't help but let out that last remark.

people like you.

those few words surely lodge in more than all the reassurances. they're like splinter, proving grian right.

eventually, he gets to skizz.

during the tour of skizz's base, skizz shows him a horse statue and starts talking about how he lost his first horse at an event that grian was also a part of. and grian's stomach instantly sinks.

he asks hushedly, a bit confused, trying to remember: "was i there?"

skizz laughs. "you were absolutely there, dude."

which leads grian to ask, uneasily: "did i do it?"

skizz waves his hands, quick to easily reassure that no! that's not it, grian didn't do it!

grian lets out an oh with such palpable relief, and goes on to explain about how, "i remember witnessing it, but sometimes it's hard to disentangle whether i did it or not. coz i tell you what, on this tour i've broken everyone's stuff."

nobody was upset with grian when things broke, but here he is, several hermits down, still unable to leave it to rest. because it's him. it's him who did all of that, somehow, and he didn't mean to, but it doesn't matter. it happened anyway.

and now he can't even tell what is and what isn't his fault anymore.

the guilt is deep rooted, leaving anxious assumptions and dark, jagged precipices. how much did he destroy? what else should he be feeling guilty about? how far does this go?

he keeps breaking things, and it's such a blur that he can no longer tell what is and what isn't his fault.

the tour continues, and he delves into skizz's pyramid. and it's just— it's just a tunnel to swim through. nothing to mess up, besides potentially dying to suffocation, right?

and yet you can hear skizz shrilly exclaim: "oh he's going to end up breaking something!!"

and, (plantie's words: ) grian hearing that and just wondering, is that all i'm good for? is that all i'm known for? is that all i am?

there's no room for doubt; not really. that is what grian does, all the time, whether he wants to or not. he breaks stuff. he just— he doesn't mean to. and this tour is one big show of how powerless he is against it. (how everyone expects it from him anyway.)

despite it all, grian perseveres, trying out skizz's game, stubbornly dedicated and trying to win. (to pass; to have something to be proud of, at least—) and he gets to the powdered snow section.

there, he jumps across to a pathway that he was meant to circle to through the snow instead.

it's not breaking anything, not really. not even the rules. it's not cheating! he's just— he just did something skizz did not expect, but that was entirely possible within the game's design, even if not intended. he exploited it to his advantage; a risky, tricky shortcut.

and yet skizz remarks with a laugh: "this is what grian does! he breaks games!"

no matter what grian does... is that all he'll ever be?

is that all they'll see?

he fails getting through skizz's game, is thanked for play-testing, praises it all, they talk it all away, and...

and then grian goes to tour mumbo's base.

and fails to even die properly to his llama—

and then mumbo shows him his archive machine, and instantly panicks when grian gets curious about it, begging him not to touch anything. and grian says: "your stomach just fell through didn't it?" and after mumbo's immediate agreement, he adds: "and rightfully so. coz, almost everything i've touched on this tour has broken."

there's not a sliver of surprise to mumbo's anxious rushed: "yeah, yeah yeah! please stop now." because, of course things have broken. of course what grian touches is bound to go wrong. of course—

and then mumbo very carefully tells grian what to do with the machine.

grian does as he's told.

mumbo looks up and pauses, a frown crossing his face as he takes it in. he notes that grian probably did it too fast—

(something went wrong)

(something broke)

mumbo says: "i can't believe you come along and every single thing in my base starts [going wrong/breaking/malfunctioning]"

and then grian mysteriously ends up with an extra book from mumbo's machine, much to mumbo's dismay. grian's confused, cogs spinning as he tries to figure out what did he mess up this time to result in this.

it's clear mumbo wants grian away from his machine. it's not safe. (grian isn't safe.)

"maybe just give that to me and maybe just step away from the contraption. and then— maybe just leave me to—"

grian's upset and bewildered voice cuts in: "i didn't do anything wrong this time :(("

he's trying so hard.

he's trying so hard to be good and do things right and not mess anything up.

(it isn't working.)

(it's never bound to work, is it?)

mumbo ushers him away, and ends up showing him another cool invention—an elevator. except the second mumbo hits the button, a creeper shows up and explodes it. (it's midday.) (it wasn't even meant to be there.)

this one isn't grian's fault at all, but with everything that's happened— well, it's easy enough to link it to grian's presence. like a bad luck omen.

apprehensively, grian asks if the elevator broke, and mumbo—a bit bewildered by the reality of it—says that no, it seems to still work. "amazingly," he tacks on, disbelieving.

grian's relieved. "ohh, i thought we were in big trouble there!"

besides himself, mumbo anxiously agrees: "augh. i was like, if every single creation that i show breaks in some fashion, i'm just gonna quit."

because this isn't normal. none of this is, least of all everything at once. it simply doesn't happen.

(not when grian isn't there, anyway.)

mumbo notes that he needs to work on his lighting, and grian nods wisely saying it's a perpetual issue, but the anxiety is digging its talons in now, unrelenting. (what else is going to go bad in grian's presence? what else will he mess up? what else will he break? why is he like this?)

another remark that comes after this is mumbo's nervous: "i've actually just built up the automatic sorter which does this—which you're not gonna touch. we're banned from touching any redstone contraptions!"

and what can grian do but oblige? (but he can at least look, right?)

but does it ever change anything?

does it matter?

-

at the end of the day, the others don't think too much about it.

they all say their part, pass their judgment, wave their hands, dismiss, move on. it doesn't keep them up at night.

... i think it might keep grian up at night.

a cacophonous collection of word snippets, aimed at him or woven around him, digging under his skin until it bleeds. a noose of inescapable fate, a tightening band around his chest that promises he can only ever be one thing:

a vessel for destruction.

it doesn't matter if he wants to be.

shackles and chains and a cosmic inevitability written into his skin, etched into his bones, tangled into his bloodstream. and an ever-rising guilt like stormy sea, far above his head now, drowning him.

(maybe he's not meant to be near other people and their things.)

(maybe he's not meant to touch games that were constructed with so much effort and love and passion poured into them.)

(maybe he shouldn't—)

==========

bonus screenshots from discord DMs (with extra sprinkles of hmtb mentions):

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bonus hmtb quotes because i kept thinking about it:

He always destroys the things he loves most, after all.

and:

He destroyed everything he touched, and when there was nothing left, he destroyed the only remaining thing: himself.

-

[wanderingchocolateeclair]

A lil Fallen Deities AU Tsunagu :)

I don’t think I ever posted this one so here we go! Did this one in a different style than I usually do on paper 5 months ago lol

[gothicrepetitions]

I know this is a hot take but allowing Xie Lian to be a genuinely flawed character who makes mistakes and, in the past, has been (and can still be) wrong but still tries to be good, with his inherent goodness not dependant on these things, makes him a better and more sympathetic character, and actually enhances his goodness rather than taking away from it

[youraveragecatastrophe]

and they were partners! oh my god they were partners...

Do you ever think about how in the original Treasures of knowledge game, Carmen and Jules were partners at ACME and probably had all sorts of adventures together? do you?? because i do, all the time