#Expression Theory

[arttheory2024]

6.1 What is Art?

I would argue that the vast majority of individuals continue to evaluate and assess art in terms of emotionality and the feelings/sentiments they experience while viewing it; which is in line with Tolstoy’s Expression Theory (Tolstoy, 2021). There are many aspects of his theory that still hold ground today in how art is understood. In particular, there is emphasis on the transference and audience participation between art/artist and the viewer. This establishment of a relationship between object and audience is still widely regarded as an important aspect of the success/definition of art. This has been shown in the past by audiences (especially in America) hesitancy to accept more absurdist/modern art movements like Dadaism. Marcel Duchamp’s urinal was a hard sell to American audiences/critics due, in part, to a lack of emotional transference. 

An artist who comes to mind when exemplifying Tolstoy’s Expression Theory is Edward Hopper. Hopper’s works deal with the idea of universality (a strong marker of Tolstoy’s theory) amid isolation. He illustrates an emotional depth through subtlety. Hopper himself experienced the isolation he aims to depict; this sincerity bleeds through into the art. Even the negativity of Hopper’s art aligns with Tolstoy because Tolstoy regarded all emotion on the same level (negative or positive) (Freeland, 2003). A prime example of Hopper’s emotionality is on display in his painting The Automat (1927). The figure exudes an array of Human experience and emotion, ranging from loneliness, depression, isolation, contemplation, etc. 

Edward Hopper, The Automat, 1927

In terms of aesthetic beauty and technical skill, I don’t believe Tolstoy’s theory aligns with Kant’s ideas of aesthetic beauty; Tolstoy in particular holds no regard for beauty when evaluating art. His focus is solely on emotional expression and sincerity of that emotion/experience. It would be rather difficult (arguably impossible) to both relax one's perception enough to properly evaluate beauty according to Kant’s ideals (Ginsborg, 2022) and simultaneously project and receive the transference of the intended emotional meaning of a piece of art. Additionally, when considering technical skills in a Platonic sense, Tolstoy’s theory of Expression would imply that art that is able to evoke emotional sentiment is a great use of technical skill and mimicry (Jest Education, 2020). If emotions were a significant form, then art that can express them adequately uses technical skill to do so. 

References

Freeland, C. (2003). Art Theory: A Very Short Introduction. Oxford University Press.

Ginsborg, H. (2022). Kant's aesthetics and teleology. In E. N. Zalta (Ed.), Stanford encyclopedia of philosophy.  

Jest Education. (2020). 3. Plato’s Theory of Forms. [Video]. YouTube. https://www.youtube.com/watch?v=TissHzEG_JY

Tolstoy, L. (2021). What Is Art? (A. Maude, Trans.; T. Lindell & D. King, Producers). Project Gutenberg. (Original work published before 2021)

[lynxgriffin]

Mightier Than The Sword

Gerson had one regret, but now Alvin has many. A fancomic about my thoughts and theories and who -and what- the Knight is!

While not directly connected, I'd say this one is in the same vein as the Deal With The Devil series! Hope you enjoy!

Alt text for this comic under the read more:

Page 1

Panel 1 - Wide shot of the interior of the Boom household. Several monsters are gathered in a clean-looking hall, dressed in somber clothing and talking quietly in small groups. The monsters include QC, Cat Mom, Toriel, Asgore and Mayor Holiday. Father Alvin stands waiting at a door in the hall as his sister, a red-headed turtle monster in a pink dress, exits through the door and speaks to him. “Alvin…he’s ready for you.”

Panel 2 - Mid shot as Alvin prepares to enter the room. Ms. Boom steps out of the way, and puts a reassuring hand on his shoulder. Both of them look somber. 

Panel 3 - Alvin enters the room, mostly dark and lit by a few candles on a nearby desk. Gerson Boom is lying on a bed ahead of him, watching him enter. Alvin closes the door behind him and says, “Father, I’m here.”

Panel 4 - Alvin approaches his father, lying in bed. The bedroom has a few amenities, including a footstool set off to the side, a large rug bearing the delta rune, and a massive bookcase filling the entire back wall. A few books and papers litter the ground. Alvin bows his head, and says, “The hammer is ready for…for afterwards.”

Gerson just smiles, and responds, “Wa ha, is it? Well, it’ll do fine, I suppose.”

Panel 5 - Closer shot of Gerson extending his right hand towards Alvin. He’s smiling still, content with where he is. “Come here, son.”

Page 2

Panel 1 - Closeup as Alvin takes his father’s hand in his own, and clasps it tight. “Whatever you need…I’m here,” he says from offscreen.

Panel 2 - Alvin kneels by his father’s bedside, still clasping his hands. Gerson says, “Of course you are. Wa ha…you’re such a good and kind man, Alvin.”

Panel 3 - Closeup on Alvin as he just holds on to his father’s hand. Tears prick at the corners of his eyes. 

Panel 4 - Focus on Gerson as he holds up a hand to conspiratorially whisper to Alvin. “And I know I can trust you with a secret, right?”

Panel 5 - Closeup on Alvin as he looks back up, face earnest. “...Of course.”

Panel 6 - Gerson holds up one finger as he speaks to Alvin. “I told your sister I had no regrets, but that was a BIT of a fib! I’m afraid I have one regret…”

Panel 7 - Side view of Alvin as he learns closer, his face now worried. “Father?...”

Page 3

Panel 1 - Focus on Gerson as he leans back on his pillow, looking up at the ceiling. “I wish I had started earlier. Writing stories, I mean. Seein’ you an’ your sister’s eyes light up whenever I read you a new chapter…and then seeing all that joy from so many young folks after those stories were published!” he says, looking wistful.

Panel 2 - Alvin watches on sadly as Gerson continues, “It was the greatest feeling in the world, Alvin. It’s what life’s all about, y’know. Helping the young folks grow.”

Panel 3 - Gerson closes his eyes and looks back towards the ceiling again, still wistful. “So, I wish I’d started writing stories sooner.”

Panel 4 - Closeup on Alvin as he bows his head, still holding Gerson’s hand. “I truly do cherish those times you read to us, father…” he says.

Panel 5 - Closeup on Gerson as he closes his mind with happy memories. “Me too, Alvin. It’s a shame…I’ve still got so many tales to tell! But–”

Panel 6 - Gerson is interrupted by a round of hacking coughs. His time is fast approaching.

Panel 7 - Gerson settles back in to his bed and says, “The Angel’s given me SO many good, happy years. Doesn’t seem fair to ask for more.”

Panel 8 - Closeup on Alvin as he continues to hold his father’s hand tight. “This doesn’t seem fair, either…” he says, tears still pricking at his eyes.

Page 4

Panel 1 -  Insert closeup of Gerson as he smiles at his son. “That’s life, Alvin!” He doesn’t seem bothered by his imminent passing.

Panel 2 - Side view as Gerson leans in closer to Alvin again, hand raised, back to sharing his secrets. “But, knowin’ my secret…there’s something I’d like to ask of you.”

Alvin faces his father with seriousness. “Anything,” he replies.

Panel 3 - Closeup on Gerson, as he looks hopefully at Alvin. “You have a good heart, Alvin. I want you to know this joy, too.”

Panel 4 - Gerson continues in the next panel: “Please try writin’ stories of your own, alright?” Closeup on Alvin as he looks shocked and a bit worried by the request.

Panel 5 - Mid shot as Alvin holds up a hand to Gerson in protest. He says, “Father, I…I have no talent for writing fiction. Not like YOU.”

Panel 6 - Closeup on Gerson as he refutes his son: “Hogwash! I know you can.”

Panel 7 - Wide shot as Alvin stands up, and looks around the room. “No, I…”

In the foreground, there’s Gerson’s desk, currently showing some lit candles, some paper, an inkwell, a notebook, and his favorite fountain pen.

Page 5

Panel 1 - Closeup as Alvin grabs two objects off of the desk: the small notebook and the fountain pen. Offscreen, he says, “If you just…”

Panel 2 - Back at Gerson’s bedside, Alvin pulls up the footstool and puts the pen and notebook in front of him, intending to use it. He faces his father, and says, “Tell me your ideas, I could write them down, and–”

Gerson interrupts him: “‘Fraid it doesn’t work that way, Alvin!”

Panel 3 - Gerson holds up both of his hands and smiles as he explains: “My tales are between my soul and the pen. You’ll need to make your own.”

Panel 4 - Gerson watches as Alvin, tears in his eyes, looks down at the notebook and pen in hand. “I–I cannot…” Alvin starts, looking despondent.

Panel 5 - Side view of Alvin as tears continue to stream from his eyes. He says, “Not without you!” In the background, in grayscale, there is a scene from Alvin’s memory: Gerson reading a book to his two children by the fire. Gerson looks happy, and both kids are enraptured, with Alvin clinging to a cat doll that looks like Seam.

Panel 6 - Closeup on Gerson, his face now more worried and pleading towards Alvin. Gerson says, “Y-you can… It’s all I ask…”

Panel 7 - Gerson turns away as he’s again interrupted by a round of terrible sounding coughs. Alvin stands holding the notebook and pen in the foreground.

Page 6

Panel 1 - Horror comes over Alvin’s face as his father continues to cough loudly, clutching his chest. He realizes that his father might be close to death now.

Panel 2 - Wider overhead shot as Alvin turns away from Gerson, looking frantically around the room. “No! Not yet!--” he says desperately. Gerson is still racked with coughs.

Panel 3 - Closeup as Alvin grabs the candles from the desk–

Panel 4 - And then pulls a book from the bookshelf, with the delta rune on the front –

Panel 5 - And then finally pulls out what appears to be a beaded rosary, with the delta rune made of beads at the end of it.

Panel 6 - Wider shot as Alvin places the objects in front of him, candles to the side, holy book in front of him. Gerson can only lay there as he does so, trying to catch his breath.

Panel 7 - Front view of Alvin as he clasps his hands together in front of his face, the rosary threaded between his fingers. He closes his eyes and bows his head in prayer. “Angel…Angel above! Please, heed your servant’s prayer!”

Page 7

Panel 1 - Closeup on Alvin as he continues to pray, the candles glowing around him. He keeps his eyes shut even as tears well in them. “I know you call back my father’s soul, but please! Please refrain!”

Panel 2 - Gerson desperately reaches a hand out towards his son, shaking, but unable to reach him. In the foreground, the fountain pen sits on the footstool between them. “A-Alvin…” Gerson’s voice is shaky now.

Panel 3 - Aerial shot as Alvin prays over the book, and Gerson is still confined to the bed, only able to watch. “This world still NEEDS his gifts!” Alvin says. “I pray to you, don’t take them from us now!” The shadows around Alvin start to grow strange, not matching the candlelight.

Panel 4 - Gerson continues to hold out a hand, now not looking well. “No…”

Panel 5 - Closeup on the candles as they spark to life, now glowing stronger.

Panel 6 - A strange bright glow begins to emanate from Gerson. Behind him, the books in the bookcase all rattle and shift as if in a localized earthquake. The colors of the room grow brighter and stranger.

Panel 7 - Still reaching out a desperate hand, Gerson lets out a soft breath. His soul, an upside-down white heart, comes up from his body. On the footstool in the foreground, the fountain pen also begins to levitate, as if by magic.

Page 8

Panel 1 - Front shot of Alvin as he continues to pray desperately, his head bowed and hands together. “Grant us the love shown between his soul and the pen!” Behind him, the colors have grown stark and bright, and a shadow resembling the angel looms behind Alvin.

Panel 2 - Alvin looks up to discover something amazing and terrible: Gerson’s soul has been drawn to the fountain pen, and begins to flow down into it.

Panel 3 - Closeup as Gerson’s soul is completely absorbed into the pen, hovering high over the bed.

Panel 4 - The candles turn strange blue and pink colors, and the books in the bookcase shake and rattle relentlessly.

Panel 5 - Extreme closeup on Alvin’s eyes as he sees this miracle; the light of his father’s soul reflected in his eyes.

Panel 6 - Closeup as the pen suddenly drops, and clatters back on to the footstool.

Panel 7 - Wide aerial shot as the room very suddenly goes completely dark and silent, the bright colors and lights now gone. Alvin stands up and backs away from the bed, still clutching the rosary, his face filled with horror. Gerson now lies unmoving in his bed, having passed away.

Page 9

Panel 1 - The same shot as the first panel of the first page, with the other monsters waiting in the hallway. No one says anything as Alvin emerges from the bedroom, leaning on the door for support, his head bowed. Everyone in the room knows that Gerson has just passed, although they don’t know the rest.

Panel 2 - An establishing shot of the forest and mountains surrounding Hometown…the skies are a dark, gloomy gray.

Panel 3 - Above shot of Gerson’s newly dug grave. At the bottom of a small pit lies Gerson’s hammer, covered in his dust. Politics Bear stands over the grave, holding a shovel. 

Panel 4 - Closeup as the shovel begins to dump dirt over the fresh grave.

Panel 5 - Another closeup of Gerson’s headstone, with bundles of fresh funerary flowers laid in front of it.

Panel 6 - Wide shot of Gerson’s funeral. Alvin stands over his father’s grave, reading last rites from one of his books. Lots of monsters are in attendance, including Alphys and Undyne, Napstablook, the Holiday and Dreemurr families, and more. A very young Kris, Noelle and Asriel are present, but Dess is not. Everyone is dressed in dark mourning attire.

Panel 7 - After the funeral, Toriel approaches Alvin and puts a hand on his shoulder. She says, “Beautifully said, Alvin. I know your father is watching proudly by the side of the Angel.” Alvin looks distant and mournful.

Panel 8 - A closeup of the fountain pen laying forgotten on the desk in Gerson’s room. Gerson is, perhaps, not actually with the Angel right now.

Panel 9 - Back at the funeral, Alvin bows his head, eyes closed. “You are too kind, Toriel,” he says.

Page 10

Panels 1-3 - We see the seasons pass through the changing of the trees…from the barren white trees of winter, to colorful pink blooms for spring, to the bright oranges and reds of fall.

Panel 4 - Sometime much later, Alvin again enters his father’s old room, alone.

Panel 5 - Much of Gerson’s room has remained untouched. The fountain pen still sits on his old writing desk in the foreground. Alvin steps inside, and carefully turns on the overhead light. “It’s been years,” he says.

Panel 6 - Alvin cautiously approaches the pen, which seems to loom large ahead of him. He hesitantly picks it up.

Panel 7 - Alvin places some blank pages on the writing desk. “Surely…”

Panel 8 - Alvin sits in front of the blank pages, still holding the pen cautiously. “Surely by now, I can do it.” He’s going to try writing.

Panel 9 - Closeup as Alvin dips the pen in the inkwell, and it comes away full of ink.

Panel 10 - Closeup as Alvin holds the pen over the blank page. The pen trembles slightly in his grip.

Panel 11 - Alvin tries to put pen to paper, but he’s still trembling. He looks down with great anxiety. “I…I…”

Panel 12 - Closeup on Alvin’s face as he looks more panicked, shaking and sweating. In the background, his memory of his father’s soul being absorbed into the pen plays back at him. This is still his fault.

Panel 13 - Closeup again as Alvin’s hand shakes uncontrollably, and the pen with it. Ink spots begin to dapple the blank page–

Page 11

Panel 1 - Alvin’s shaking hand accidentally knocks over the inkwell, and it spills black ink all over the blank page.

Panel 2 - Alvin picks up the ruined paper and folds it in half to try and stem the ink spillage. He quietly curses to himself. 

Panel 3 - Closeup as Alvin holds his head in his hand. It’s clear that this isn’t going to work. “I can’t…” 

Panel 4 - Closeup as Alvin puts the ink-stained paper back on the desk, and quickly grabs up the pen and inkwell.

Panel 5 - Taking the pen and inkwell, Alvin exits his father’s room again, head bowed and expression sad.

Panel 6 - Left behind, the folded paper slowly peels apart and unfolds…

Panel 7 - To reveal that the spilled ink has created a rorschach ink blot image of a titan. 

Page 12

Panel 1 - Wide shot as Alvin trudges down the streets of Hometown, alone. His head his bowed, and he’s still clutching the articles he took with him. It’s almost nighttime, and the sky is dark. “I cannot bear this kind of burden,” he says to himself.

Panel 2 - Shot from behind Alvin as he approaches the school building. It’s dark, and no students or teachers should be there. “Maybe you belong where you always have…”

Panel 3 - Now indoors, Alvin continues down the empty hallway towards a particular destination. “With the youth.”

Panel 4 - Alvin opens the door to the storage closet at the end of the hall. It opens with a soft creak. “Teaching. Telling stories,” Alvin continues to say to himself.

Panel 5 - Alvin places the fountain pen and inkwell on a small shelf in the storage closet. The closet is almost completely black. 

Panel 6 - The inkwell and pen are left on the shelf as Alvin closes the door behind him. His expression is mournful as he locks these reminders of his father away. “Inspiring someone better suited,” he says, hoping this is a suitable escape of his responsibility.

Page 13

Panel 1 - But in the storage closet, the objects are subject to something else already there: the grand Dark Fountain. The pen, ink and papers all fall into the darkness of the fountain–

Panel 2 - And start to change, the pen seemingly turning into liquid itself–

Panel 3 - As the pen falls deeper and deeper into the dark, the liquid begins to reshape into something new, something resembling a person–

Panel 4 - Until it lands on empty ground, now a person in knight’s armor, knelt over and holding his head in his hands.

Panel 5 - The Knight comes to, and starts to become more aware. He’s dressed in armor resembling the dark metallic sheen of the fountain pen, his mask resembling the pen tip. A bright deep red cape flows from his shoulders, and a single red-orange feather tops the helmet. “Where…am I?”

Panel 6 - The Knight again touches his helmet with both hands, as if not sure exactly what he is.

Panel 7 - Interior shot of the helmet, which reveals a figure much like Gerson…but much younger, more idealized-looking, with colors not matching his actual self. A Dark World interpretation. “WHY am I…?”

Panel 8 - A closeup of the Knight’s hand, slightly trembling.

Panel 9 - The Knight stares down at his own hands as realization begins to flood him, or at least something that looks like realization. “Wait. I see why. I KNOW.” he says.

 Page 14

Panel 1 - The Knight holds up his hand, and a sword appears in it in a flash of lights. The sword resembles the tip of a fountain pen, almost split neatly in two. “I serve the Lightners! That is my purpose!” Says the Knight. 

Panel 2 - The Knight draws the sword back with great fervor and determination. His thoughts echo around him in strong letters: “A purpose so bright, so clear…”

Panel 3 - In the final panel, the Knight drives the sword into the ground, causing an eruption of black ink-like material to spew from the ground…the creation of a new Dark Fountain. In the fountain itself, words reflect his purpose: “I EXIST TO GIVE THEM STORIES FOREVER.”

[hinamie]

big fan of panels where they look like they wld beat me up

[b1adie]

EVERY FRIEND GROUP HAS THE

PERSUASIVE WOMAN (HOT)

OLD-ASS MAN

TEAL-THEMED WARRIOR OF A BYGONE AGE TRYING TO LEAD A CALM AND NORMAL LIFE AWAY FROM THEIR PAST IDENTITY THOUGH CAN NEVER ESCAPE IT ENTIRELY

CLOWN (IN DENIAL)

BEAST OF UNKNOWN ORIGIN

BOMB TUPPERWARE

[egophiliac]

:) hello! :D hope you have a nice day and absolutely do not think of the possibility of one of the last story cards being of silver! and that his groovy will very probably be crying!!! THERE'S SO MANY CRYING PEOPLE IN STORY CARDS LATELY!!! SPECIALLY LIGHT USERS!! I AM!!! SCARED!!!! bc so far we got Lilia and Sebek in the beginning book 7.... so at the end.... so we're missing story Silver... and Malleus is the one with less cards, so they might add one for him... but... the tears... ego.... THE TEARS!!!! EGOOOO!! (LOVE YOUR ART BTW EVERYTIME I GET A NOTIF FROM YOUR BLOG I RUN HERE TO SEE!)

(thank you! 💚💜💚)

YES I am ALSO like...90-95% convinced that we're going to be getting a story card for Silver once we wrap around back to diasomnia. 👀 especially because the way things are going, Silver will be the only character whose dream we haven't seen -- yet???? -- and that just. y'know. makes me wonder!

although I do think it would be VERY funny if he got a story card and the groovy was just "regular Silver except with one beautiful single crystal tear". this is actually a lot coming from him.

(he used up all his emotion yelling at a baby that one time, there's none left for a proper groovy-level cry.)

[keeganns]

Obviously “America is Great Again” is a fantastic critique of capitalism and American propaganda, which would be enough to make it an incredible scene on its own. It’s a great song and a great demonstration of the show’s themes, and it’s really well done.

But there’s a tragic layer to that song that really elevates it for me, and that’s because it’s specifically MacNamara singing it.

MacNamara first is introduced to seem like a stereotypical patriotic army guy in the scene where he knocks Paul out. However, he then subverts that in the next scene where we learn his true morals, namely that he believes in love and humanity as his higher purpose and he will put that above the orders of his country if they conflict. He chooses to let Paul live because of that, and when Paul asks if he can save Emma, MacNamara gives him his gun and tells him to go. We learn, as does Paul, that despite his appearance and general vibes, he is a genuinely good person who wants to help and is willing to put his moral code above his patriotism.

But when he gets apotheosized, he becomes the complete opposite. Suddenly his loyalty is to his country only, and his own moral code is erased in service of that, which causes contradictions between the lyrics of AIGA and his thoughts in the scene with Paul. “You can’t run because our borders are closed” when he was helping Paul escape in a helicopter as a human; “Americans should fit a mold” when he didn’t at all fit the “douchey army patriot” mold he was presented with; “There’s only room for right and wrong” when he clearly is able to choose between his own morality and his orders, indicating a more complex outlook instead of a binary. He becomes the stereotype he was subverting, and in doing so he becomes someone that the real MacNamara would have hated. That’s the tragedy of that song, and of the whole show really, is that the people who become part of the hive mind lose their true selves and are only able to act in their stereotypical roles, even if that’s nothing like how they actually were as humans.

There’s also something to be said here about how the us war machine and capitalism corrupts people and makes them into something they would never have been otherwise through a forced loss of personhood but I can’t figure out how to phrase that so

[zecoritheweirdone]

wanna preface this by saying that i am. So normal. anyway i just spent the last week redrawing scenes from mystery skulls animated but as that hermitcraft au i posted about a couple times. you guys should watch msa it is. so so good.

[swan2swan]

"He's gone!"

[no1-tvgirlfan]

thinking about the theory that all the characters/trains in stex are based off of people control actually knows in real life and they sort of insert themself as rusty in their dream.

pearl is obviously a girl they have a crush on. maybe shes a new neighbour , a new kid at school. maybe if we’re getting sentimental she wears a pearl necklace which gave control the idea of naming her pearl.

greaseball could be controls older sister , maybe shes a little mean to him sometimes , as siblings often are , maybe thats how she manifests as a big bully in their dream.

dinah is controls older sisters girlfriend , she probably thinks hes cute and tells controls older sister to lay off of them and stop being so mean. control probably thinks that dinah is too good for greaseball since shes so nice to them.

the other coaches could be their sister’s girlfriends friends maybe? they come round sometimes to hang out and are often pretty nice to control as well. i like to think their personalities manifest as their own type of train , like yes the irl dinah gives them snacks sometimes so shes a dining car , irl tassita is always telling irl greaseball to shush so hes a quiet coach , the irl belle is always having sleepovers so shes a sleeping car. etc. etc.

electra could be a new kid at school , a bully perhaps , the comps are their little posse. irl killerwatt could be a kid who gets in a lot of fights , irl wrench is someone who is always hanging around the medical bay , irl joule is a misbehaving child who maybe set something on fire once (dynamite truck) , god knows why irl volta is a freezer truck.

the irl freight are just the class clowns. a bit annoying to control but they’re still his friends.

momma obviously represents his mum.

the engines are maybe a couple more bullies , maybe theyre in the year above , control doesnt like them very much. they hang around with their older sister and are always teasing him.

thats just my thoughts on it. i think its a cool theory is all.

[intersexcat-tboy]

Unpacking the Ethics of “Tboy Strap”: Challenging the Language of Delegitimization

[PT: Unpacking the Ethics of “Tboy Strap”: Challenging the Language of Delegitimization]

Hearing about trans men or transmascs topping and instantly thinking "strap" perpetuates transphobia and contributes to antitransmasculinity specifically.

While not an exact parallel, defaulting to the assumption that trans men topping involves a “strap” is similar to defaulting to the assumption that trans women's breasts involve breast forms. Both assumptions overlook how these can be achieved through HRT or surgical means, while also distracting from their true (desired, or) transitioned bodies, reinforcing the unnecessary, often dysphoria-inducing misconception that their gender affirming adaptations are not legitimate aspects of themselves.

Many trans people use language intentionally to reduce dysphoria, but being externally subjected to such framing can reinforce the disconnection from their bodies and identities. It's different when someone uses this language to describe themselves personally, as it reflects their individual relationship. Nevertheless, when this language is applied generally to others, we must think critically about the broader concepts it promotes.

Strap-ons are primarily marketed to those without penises and have strong historical ties to the lesbian community. They are not generally called “strap-ons” when used by cis men who don’t have or cannot use their penis for penetration. Instead, they are simply referred to as hollow dildos or recognized as prosthetics—designed to restore or improve functionality of a body part. It serves to replace a valued, personally integral aspect of their body that is necessary for their quality of life, rather than merely an optional add-on.

In some cases, when used alongside an existing penis for double penetration, it would be more aptly called a strap-on. However, this usage typically doesn’t apply to trans men, as they usually don't use their natal penis for penetration alongside; if involved, it is either stimulated, enhanced, or extended, rather than acting as a secondary penis.

Additionally, in certain dynamics (e.g. orgasm denial, men in chastity, or sissification) the term “strap” is often used to emphasize a rejection of the integration with their identity as men, meant to deny them recognition of their “true” manhood by highlighting their perceived failure to embody masculinity by not using what “truly” makes them a man.

Within chastity, sometimes referred to in kink communities as “reverse pegging,” the humiliation often stems from the implication that because the “strap” is superior to his own flesh—more effective, more satisfying, larger, and thus more aligned with what a “real” man should be able to provide—he is being denied recognition of his “true” manhood. His failure to satisfy with his own flesh renders him lesser; his use of an external object for penetration is framed as proof of his shortcomings in masculinity—a mark of failure to measure up to the patriarchal ideal.

The deliberate focus on performance, emasculation, and delegitimization seeks to humiliate and degender the cis man, framing penetration not as a natural extension of his body, but as an artificial external act performed for someone else’s pleasure.

This concept is similar to how some trans women, or others with dysphoria related to having more erectile tissue than desired, refer to theirs as a “built-in strap” to create distance from their anatomy to alleviate dysphoria. While both can be used roughly to mean “this isn't my real penis, so I'm not really a man”, trans women’s use of the term contrasts with these kink dynamics where "strap" is used to question the legitimacy of the man's manhood, disempower or humiliate him. Instead, trans women commonly use it as a coping mechanism for dysphoria management and as a term of endearment, turning it into a source of empowerment rather than an insult.

In certain contexts, the way “strap” is used in reference to transmascs risks reducing their gender expression to a fetishized, sexual, or kink-based act, framing their sexuality as a performance or role-play rather than an authentic and true expression of who they are. This positions it as something /on/ their bodies rather than /part/ of them.

When "tboy" and "strap" are used together in a mocking or belittling manner, it often carries an underlying implication of infantilization. The combination can evoke images that reduce the experience of trans men to something less serious—like that of children playing dress-up with toys.

For transmascs, these framings reduce their penises to costumes that are put on and taken off for sex, rather than as an extension of their body and identity. They either draw on historical and cultural contexts to position trans men as women, or impose kink dynamics, such as humiliation and sissification, onto trans men's bodies, regardless of whether that reflects their experiences or desires. Both are dehumanizing and deny trans men the same recognition and respect afforded to cis men in similar contexts. Either way, the issue lies in how “strap” frames it as a temporary addition for sexual purposes, suggesting that it isn’t an intrinsic part or expression of their body or identity.

When the tools that help trans people live as our true selves are treated as something “on” our bodies or worn to perform, it reinforces the harmful idea that our gender expression is temporary, artificial, or an act.

Through this objectification, it becomes a decorative, extra addition, or accessory, rather than something inherent to themselves or a necessary function for their quality of life.

If this idea persists—the framing of penetration with an extension of oneself, rather than flesh and blood, as a performative or artificial expression of body/sexuality—it suggests that their experiences are somehow invalid or less authentic. This forces them to navigate the harmful narrative that their bodies, sexuality, and experiences are only legitimate or recognized as real if they conform to external standards. From this continuous confrontation with language that invalidates their bodies or sexuality, internalized shame can cultivate and fester.

All of these ultimately diminish their ability to fully express their gender and sexuality in, and on, their own terms.

[obsidianbit]

I love this gay ass show with its literally life ending injuries that heal immediately, but only when convenient to the plot, and its ridiculous use of modern phrases, and its laughing in the face of historical accuracy, and its kissing the face of the fans instead of trying to outwit them, and the way everyone involved in the show seem to go 'I KNOW RIGHT! I'M EXCITED TOO!' instead of mocking the fans

[happypeachsludgeflower]

Modern day YouTube au where Xie Lian is infamous on the internet for his catastrophic cooking channel.

[neunhofferart]

Studies I drew while referencing Will Nichols' expression sheets to figure out my storyboard shorthand for the adult Nublar 6 designs on Jurassic World Chaos Theory.

My shorthand wound up evolving, but it's still interesting to see where I started.

Check out the original expression sheets here-- they're fantastic!

[bensbush]

Yasammy Week Day 1 (Hurt/Comfort)

Yayyy guys I finished it on time everyone partay

I don't usually do comics but I was determined this time! I was thinking about how Yaz probably still gets nightmares from time to time, especially once the dinos made it off the islands.

I very much doubt I’ll be on time with the rest of the days but I’m doing my best

@yasammyweek

[blueberry-ry]

You guys know that you can dislike characters without being fucking weird about it, right 🤨?

[lunar-years]

Jamie spending so much time with Roy and visibly being so close to Roy that even Roy’s little niece takes note and ensures he’s invited to their Uncle’s Day celebration as Uncle Roy’s best friend, YET Jamie still being surprised, flattered and excited several episodes later when Roy does something as simple as invite him out for a beer, because that’s clearly something that’s unprecedented—the first opportunity to hang out as friends without any guise of it being for football—is just soooooo!! The implications are so silly. Roy definitely spent the entire season framing every interaction he had with Jamie around “work” and “training” even when he really just needed to be around someone (well, specifically around Jamie) because his ass couldn’t just admit he likes having Jamie around. We know from the show he showed up at least once in the evening for “once more before dinner” (Roy…it was literally dark outside and you’d already had Jamie running around twice that day. be forreal)

…so anyway! Roy bringing dinner over to Jamie’s 4 nights a week and it’s really because he doesn’t want to eat alone and having his meals with Jamie is just better, but he still disguises it every time as “well I obviously need to make sure your nutrition is sound and you are eating enough and the right things this is a very important part of your training. I am doing you a crucial service.” Roy bringing Jamie along with him when he watches Phoebe because Phoebe and Jamie adore each other, but Roy “makes” him show her some footie tricks in his back garden and claims it’s because “being able to explain it to someone else is how you become a leader on the team this is very important” or else has him haul phoebes around on his back or whatever as “strength training” to make himself feel better about just wanting Jamie to be there to hang out. Roy following Jamie back home after matches because he needs to “assess his post-match routine and make sure he’s not overdoing it,” but really it’s just them plopped on Jamie’s couch watching bad reality tv and judging it together. And then *obviously* he might as well stay over, so that he can also observe and give Jamie his helpful advice on a morning wake up and stretch routine. Totally necessary!

And look, part of Jamie understands what’s really happening here and at least sort of knows Roy really does like spending time with him outside of just work and training (hence all his best friend teasing on Uncle’s Day), but Jamie is also a bit of an idiot (affectionate) who in equal measure sort of believes he’s just deluding himself and that all of this really has been an elaborate and effective training scheme from Coach Roy.™️ They perplex and bewitch me. s