#Explore and Create

[lichposting]

I’m really enamored with the dynamic of two characters who work perfectly in tandem, like pacific rim drift compatible level, but they don’t like each other. It’s not even as strong an emotion as hate it’s just a very neutral-negative dislike, but they still act in perfect concert and their individual abilities are fully complementary

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[astearisms]

fionna and cake drawings before and after watching the episodes so far. it’s nostalgic and somehow cathartic and poignant and relatable and—it just started

[crispy-art-on-fire]

I finished season 1 of Prime and has now started season 2 and. My lord did the briefest most bare bone glint of Megatron and Orion's past captivate me. So have an attempt to draw mr tall dark and not-yet brooding. + Orion for support.

[rednightmare18]

Sometimes I do think the hyperfocus on religious guilt, especially the hyperfocus on religious guilt pertaining to sexual behavior (with one particular romance taking up 90% of the fandom's concern here), is eclipsing the absolutely fascinating canonical relationship Henry has with God.

Henry's guilt, a complicated tangle of survivor's guilt and moral guilt, is never on clearer display than when he dreams of his parents. This dream is the face of how Henry feels about himself and the sins, moral and divine and cultural, he has committed. It always troubles me when I see people yelling at Henry's parents as if they were really there... and not recognizing this is insight directly into how Henry feels about what happened in KCD2.

Notice that he is deeply caught up on theft and revenge/wrath (even when he argues with his father/i.e. himself in his own defense).

Notice, too, that he has no apology to make about Hans (if romanced). Of even greater interest from a character analysis standpoint, neither of his dream-parents (the voice of his internal guilt and misgivings) spare more than a moment's surprise on it. Henry's mother immediately scolds Henry's father when he expresses surprise; down to the marrow of his dreams, Henry does not seem to feel badly, guilty, or conflicted about romancing Hans at all.

Henry's aversion to touching the dead in kcd1 and kcd2 (particularly when someone he deeply cares about does it) is period-place-typical. It is fascinating how he rationalizes with himself in different contexts and how he justifies or does not justify this.

Henry usually gravitates toward social pariahs out of genuine curiosity first, compassion second; I find this point (blended with the above point) especially interesting in the context of his work with Executioner Hermann from KCD1!

Henry's anger is extraordinary, especially in KCD1, and whether or not Henry comes to understand his anger has immense echoes into the "voice" of his guilt.

Henry has a curiously spotty religious knowledge; this always delights me, as he's had a dash of monk's education and grew up in a town without a church. "Crimbo" is a hilarious line, but in other ways, it is also nicely representative of the half-formed grip he has on religious philosophy.

Henry's furious outbursts of "you call yourself a Christian?" are almost exclusively tied to his outbursts in defense of the defenseless, and this is used as a call to moral shame, especially against militant men. I always think first of his genuinely furious attempt to interject when Kuno deliberately uses civilian women as bait in KCD1.

Henry at times seems incredibly confident in his personal relationship with God. I adore the quest A Sinful Soul for how it showcases this. In a direct prayer the player has limited control over, Henry addresses God as informally as one might address a neighbor he has a minor grievance with. He essentially tells God, "Look, I know what you said about this issue, but I also know that YOU know I'm right this time, so I'm gonna do it my way, cause I know you didn't exactly mean it the way you said it there. Thanks in advance - knew you'd agree with me." Henry believes in a God who makes individual exceptions based on what is moral; he also differentiates what is moral from what is godly, and seems certain that God also draws this distinction for Himself.

Fucking thrilling from a character development standpoint! Fucking thrilling in the breath before the Hussite rebellions.

[humbuns]

natsumugi save mee......sav..

[alexmurison]

Sunrise on the Dragon's Back. Peak District National Park

[johnnyshrine]

★ 071 // “it gets better”

[arainmorn-art]

Deciphering 126-127, CWs for blood and abuse

Deciphering, pages 126-127

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Gosh, I'm so tired, but I beat this spread page! Took five days straight of my vacation!

In the Russian-speaking fandoms when you read or watch some highly dramatic and depressingly sad stuff we call it "eating glass" in a sense, that you feel emotional pain, but don't want to stop consuming the media. So currently I'm feeding you some glass too x) But don't worry, Edgeworth will be back in a five-six pages.

[Insta] | [DeviantArt] | [X] | [VK] | [Bsky]

[hersterical]

Riley is one of the few characters in btvs who is not at all Buffy. He is not a shadow, reflection, or a part making up the whole.

The character he does thematically reflect is Adam (which is literally the only thing about his character that has ever compelled me). And I think seeing how similar he is to Adam made Riley even more desperate to be like Buffy. But the very reason why he could never be a shadow/reflection/a part of Buffy is because he doesn’t want to share and help carry Buffy’s burdens (at least not unless it was on his terms), he just wants to be the hero. He wants to replace Buffy(‘s role).

I will say this, Riley, Adam, and the first slayer were all created unnaturally and are viewed as abominations by both mortals and demons alike but the difference is that the slayers as a whole and as individuals actually learn how to reconcile these two seemingly opposing sides of themselves while Adam never understood humanity and Riley could never understand demons

While I do get why some people would use this as evidence to say that Riley is a part of Buffy, having a similarity to Buffy does not a Buffy archetype make. Because Buffy could never not understand both humanity and inhumanity. She was never given that chance. She desperately fought against this, but we see in season 6 that her demons are as much a part of who she is as is her humanity.

For Buffy it’s about who she is, while for Riley and Adam, it’s about what they are

[poorly-drawn-mdzs]

In love with the idea that innie lwj is bouncing off the walls constantly. No emotional regulation. No social skills. Pure chaos. He deserves it

Given what we know about Drunk LWJ, it stands to reason a severed version of him would be also uninhibited and unfiltered.

If his outie has tamed his tempers, his innie is collecting them like a child at an unmonitored candy bowl.

[atalienart]

✧*:･ﾟArt summary 2024

2014-2017 | 2018 | 2019 | 2020 | 2021

[k1tty5]

im constantly afflicted by a terrible illness and there is no cure. have a sketch

[blackhholes]

Monstrosity in Teen Wolf

Hybridity Is the New Metamorphosis by Harvey L. Hix / Skin Shows: Gothic Horror and the Technology of Monsters by Judith Halberstam / Monstrosity: The Human Monster in Visual Culture by Alexa Wright

Written for @teenwolf-meta‘s Meta May Monday theme: beast

Monstrosity and what, precisely, makes a monster is a topic that is discussed both within the text and the larger narrative of Teen Wolf. The most direct mention of monsters vs monstrosity is in *Monstrous* when Lydia tells Meredith “Not all monsters do monstrous things” referring here to Scott, which Meredith then flips back onto Lydia herself. It’s obvious to see here that the show makes a clear differentiation between what it means to be a monster and what it means to be monstrous. To be a monster means to be something unnatural it’s particularly about the outward facing part of a person, this is mainly seen with the shapeshifters who undergo a physical transformation which marks them as something different than humans, but Meredith referring to Lydia as a monster means that it’s not only the physical attributes which makes someone a monster. Being a monster is less about what you are and more about what you aren’t. Once you’re no longer able to be comfortably placed within the category of human you are a monster. This form of monster isn’t a negative attribute though, it’s a neutral one. It simply describes that the person is not a human. 

Acting monstrous is a negative attribute within the show, humans and monsters alike can act monstrous. Monstrosity is therefore not a description of person but instead a description of character. One of the most potent examples of this is in *Fury* where the viewer sees three different factions of characters. Matt is a human so he is per definition not a monster but he is a monstrous human, he stalks Allison and has spent the season carrying out his revenge plan by taking away Jackson’s autonomy and forcing him to kill people. The werewolves on the other hand are monsters who aren’t monstrous, at least to the viewer, they, particularly Scott, are trying to find a way to catch Matt without having to kill him or Jackson. It’s interesting to consider that the Argents, hunters who have always equated monster to monstrosity, have become even more radical after the death of Victoria, despite Matt’s actions he isn’t their primary target when they enter the police station, Derek is. Because, to them Derek killed Victoria by biting her and turning her into a monster just as he is. Matt is an afterthought, he’s the loose end they will deal with afterwards. The Argents therefore has the opposite understanding of the situation than the viewer does.

Humanity is also an important topic within the show, humanity is something fallible. In *Lies of Omission* the scene at the end with Scott and Stiles in the rain serves as an important look into the characters’ and particularly Stiles’ understanding of what it means to be human. When he says to Scott “Some of us are human” it’s a vocalization of the idea that to be human is to make mistakes and that humanity makes a person incapable of always doing right. As opposed to the in-humanity that comes from being incapable of erring. It is preceded by Stiles saying “Not all of us can be true alphas”, throughout this conversation, and even the entire season, Stiles has started categorizing Scott as something other than human capable of humanity, it’s not the monstrous monster previously mentioned either, it’s a third category of non-human. The true alpha isn’t monstrous but he isn’t human either. To Stiles Scott has become a sort of mythologized character who always does the right thing instead of being a real person who’s standing in front of him. 

[0alix0]

just love how we still have absolutely no details about how evanuris killed mythal :) the mother of all, elgar'nan's wife, a mother of 3 possibly 5 other gods (who probably killed their own mother hello??), "the voice of reason"

remember that? remember "they killed mythal... a crime for which an eternity of torment is the only fitting punishment"

yeah. love it)))