#Oh this is already a mess

[dricacchi]

this wasn't even supposed to be colored, i just love s3 arthur too much i guess

[thebrainrotsreal]

Was pondering how Mark’s rigid ass mask/lens is prob a Budget Thing (since squishy, bendy lens are pretty much a mandate for all hero animated series, like JL, BTAS, TNBA, Spider-Man, etc), and then I was slapped with a vision of Mark in a more JL/BTAS-ish style and I had to see it through. I am a genius btw.

[aethersea]

I do think Blazing Saddles handled its one depiction of native americans very poorly, and the full extent of its representation of chinese workers on the railroad is they were literally just there. not even one single speaking line. unclear if this is worse or better than the redface.

it's fucking phenomenal at lampooning antiblack racism though. extremely blatant, extremely funny satire, which is constantly and loudly saying "racism is the philosophy of the terminally stupid at best and morally depraved at worst, and we should all be pointing and laughing at them 24/7"

plus the main character is a heroic black man who has to navigate a whole lot of bullshit but is constantly smirking at the extraordinarily stupid racists and inviting the audience into the joke. the one heroic white character is a guy who was suicidally depressed until he met the protagonist and they just instantly became buds, and he's firmly in a supporting role the whole time and happy to be there. the protagonist saves the day with the help of his black friends from the railroad, and uses the position of power he was given to uplift not only those friends, but all the railroad workers of other minorities too, in an explicit show of solidarity.

anyone saying "Blazing Saddles is racist" had better be talking about its treatment of non-black minorities. it had better not be such superficial takes as "oh but they say the n-word all the time" or "they have nazis and the kkk in there!" because goddamn if that's the full extent of your critique I very seriously suggest you read up on media analysis. there is too much going over your head, you need to learn to recognize satire.

[yo-yo-yoshiko]

Can't any more.

[2-cornchips]

baby's second fanart post!!!!! More Kate and Mel doodles. Hope they make it out of this season mostly unscathed <3

[kindaasrikal]

Kai putting Wu on a pedestal as the perfect adult and Arin putting Lloyd on a pedestal as the perfect adult due to kind adults they did have in their life disappearing without them knowing why and the second they get another trustworthy adult they pedestal them, you go hand in hand with Nya and Sora who never knew a trustworthy adult and instead learnt that placing a person on a pedestal hides the fact that they absolutely will mess up too but still try their sincerest.

[pharawee]

Love is hard.

—SANGMIN DINNEAW · ซังมินดินเหนียว · Episode 04

[marshmeowlow]

And here we go! Ultrakill Optimus prime the lighting is a bit on the messy side, but i think it adds more to the ultrakill vibe

[starlightwayfinder]

My collection of Xehanort & Strelitzia friendship propaganda:

[shadowlurkerbug]

Ok finally got on ponytown and LOOK!!! The customization is literally SO FUN OH MY GOD so easy too!! In wanna make more tf2 dudes!!

Made some ocs too and The Chosen from smosh lolz

[ruskatuskapuskasapuska]

It's here it's here it's here it's here it's here it's he-

Rambling and pics below (kinda nsfw)

Raaaaaaghhh my preorder is pre no moreeeeeee!! I've been waiting for this for almost a year now yippiiiiii (my wallet hasn't tho (+ i have the hospital towa preordered now as well, i hate this game /affectionate))

Tried taking some "cOoL PeRsPeCtiVe" photos (the figure was kind of a pain to set up tho, so I didn't try out different variants after assembling it once)

Here's a close-up and the face variants (I was kinda surprised that they did the right eye differently for these (especially since it barely shows from underneath the emo hair), not complaining tho (I'm glad to have a good clear ref of the eye))

My Hisoka noodle stopper fig finally has a toilet-buddy (my sense of humor is really nuanced and intellectual btw) ("this could be us, but I'm a shy pooper")

And here I just felt his left hand was looking a bit empty (I realized that the L is facing the wrong way only AFTER taking the picture but I think it's funnier this way (I'm too lazy to fix it))

[corpusdiem-seizethedead]

Angel: *gazing lovingly at Husk* He could kill me, and I'd thank him.

Cherri: *who has heard this for the millionth time* I'd thank him too

[tawny-panthera]

In agreement, for better or for worse (I love their dynamic so much)

[walkingstackofbooks]

Mikoshir ficlet where sometime after they get together, Julian realises he's aromantic, and has Many Many Feelings

cw: internalised arophobia

(Keiko and Miles are having none of it though - for once, this is entirely comfort!)

--

His first week of dating Miles and Keiko is just as wonderful as he'd ever imagined, and Julian's not sure if he's ever been happier. The hugs, the laughter, the unrestrained affection – Julian knows he's a lucky man, and desperately gives as much as he takes. But although he never stops enjoying it all, at some point he starts to notice that the way in which the O'Briens love each other seems very different to the way in which he loves them. Little things they mention off-handedly about their feelings sometimes seem worlds apart from how he views his own feelings, and while at first he puts that down to his relationship being new and Miles and Keiko being married, and so on and so forth, he can't shake the feeling that it's not just that.

Over the next few months he becomes increasingly convinced that even though he definitely loves them, he's not actually in love with them. He begins wondering if he's ever really been "in love" with anyone, now that he's properly paying attention to his feelings, and after a lot of lonely soul-searching – lonely because he doesn't really want to involve Miles and Keiko in this unless he's sure, and that means not confiding in his other friends, either, just in case it got back to them – he comes to the conclusion that he's maybe, probably, aromantic. Which is... well, it's fine, he supposes, but he really wishes he could have figured it out far, far sooner.

The worst of it all is that, now he knows – and god, he really doesn't want to admit it �� but now he knows, it wouldn't be fair at all on Miles and Keiko to carry on with their relationship. He really, really doesn't want to lose what they have, but if he's never going to be able to love them the way they love him, it's better to end it sooner rather than later, right? That's just what you're supposed to do when you realise you're not in love, isn't it? You're meant to break up.

When he tells them – sitting on the sofa opposite them one evening, forcing himself to look them in the eyes – his quiet explanation is so full of apologies that the O'Briens initially struggle to make sense of what he's trying to say. But eventually they get there, and Julian finds that he's not met with any of the reactions he's feared. There are no scoffs of annoyance for having wasted so much of their time, no sarcastic eye rolls – not even a gentle-but-firm dismissal. Instead, they both move to sit next to him, expressions somewhat sad but still full of fondness. Which only makes it harder, because of course they'd never be anything less than kind, that's one of the many reasons he loves them, and he's going to miss them just so much...

Keiko puts her hand over his. "If that's what you want, Julian, then of course you've got to do what's right for you. But..."

"But what?"

"Well, it kind of sounds like you're only doing this because you think it's what we're going to want."

Julian frowns. "I don't understand."

"I think we're maybe going about this the wrong way," says Miles, the 'we' sounding as natural as ever, as though they really are all still in this together. "I get that it's never going to be romantic for you, sure, but what do you actually want to change? Is there anything we do that you don't like, that makes you uncomfortable..?"

Before Julian can reply, Keiko moves her hand away, shuffling a couple of inches back. "I'm sorry," she says, "I didn't even think to ask."

Julian shakes his head, bewildered. "No, it's fine, it's – I liked it!" he assures her. "There's nothing you do – I told you it wasn't your fault, you've always been wonderful. It's just me, and my stupid feelings."

It seems they believe him, at least, because at that they both move in even closer, their bodies pressing up against his, arms wrappinh around his back. "Is this okay?" Miles asks, and Julian nods miserably.

"I still think you're being far too nice to the person who just broke up with you."

"Probably because I'm not really convinced you have," Miles replies, causing Julian to stare at him in disbelief. Is this reaction all just... denial, then? "I mean, don't get me wrong – like Keiko said, if you don't want to be with us anymore, or need things between us to change, however that might look, we'll accept that. But you know you'll always have a place in our bed – I assume?" he adds hurriedly, glancing at Keiko to check.

"Always," she says. "If you want it, of course. We're not trying to pressure you into changing your mind, Julian. It just seems like you haven't considered any other options."

"I— You... But bed sharing – that's what people in a relationship do."

Miles shakes his head, the roll of his eyes softened by a small grin. "He's a smart one, our Julian," he teases, still looking across to Keiko. "Look, Julian... All we're saying is that it's been nice – uh, more than nice, I guess – you being around these past few months, and if you liked it and we liked it, then it doesn't matter what your feelings are, we don't have to stop—Wait, no. Shit." He pauses for a second. "That came out wrong, of course they matter... What I meant was, if you still want to be doing the things we've been doing, then really, we don't care about your feelings—"

Neither Keiko nor Julian manage to hide their amusement. Miles scowls. "You know what I was trying to say!" he grumbles.

"He's a smart one, our Miles," Keiko smiles, nudging Julian. "But he's right. I think what Miles meant to say, is that we're not worried if your feelings for us are different to what you thought they were. We want you in our lives in a way that makes you happy – and if that means you want to put emotional or physical distance between us, then you can, but if you don't want things to change, they don't have to! Does that make sense?"

It does, in a bizarre, upside-down, counterintuitive way. They're both deadly serious, and even if Julian hasn't quite worked out why, he can tell that all his worrying seems to have been for nothing. He sighs, sagging against her. "I should have told you about this weeks ago," he mumbles.

"Maybe," she replies, running a hand through his hair. "Or perhaps it was something you needed to work through for yourself. But you've told us now, and whatever comes next, we'll support you. You do know that, don't you?"

He does now, he thinks, feeling more than a bit rotten that he'd ever doubted them. But then, how could he have guessed that they'd be this fantastically illogical about their relationship?

"You're both amazing," he says earnestly. There's a part of him that wants to say more – to check and double check and triple check they really mean it, to get explicit confirmation they're still in a relationship, and what it even means for a relationship to be half-romantic and half-not. But he needs some time to work up to all that – and besides, it still feels strange to be quite so emotional around Miles – so he opts for the safer route: a joke.

"Well – you are, Keiko. Miles doesn't care about my feelings."

"Hey!"

Who needs romantic love, when you can have this? he thinks, as the familiar sounds of Miles' outrage and Keiko's laughter fill him with warmth. It's an unsteady thought, hesitantly finding its feet among the recent ruins of his belief that without romantic love, he couldn't have this. An hour ago he'd have laughed in its face, but it's there and it's hopeful – and, what's more, it might even be true.

[kiyomitakada]

what if kiyomi was the first Kira and misa was still second Kira

i wonder!

(bleh that's one of my older ficlets it's before i realized L is polite to literally everyone except light… so it ought to be takada-san but that's fine.)

anyway this ^ was my first attempt at the idea but it has been plaguing me for months and it looks very different in my head now. here are some Thoughts:

kiyomi as first kira

kiyomi is a very outspoken character who is relegated to the most passive position in the narrative. i don't think this was intentional, i think it was Misogyny of the Author, but it is very interesting to me in the context of this AU. i imagine she picked up the notebook fully intending to throw it away but hung onto it for instincts unknown (light also says in canon that "that notebook has a power that makes you want to try it"; i don't really subscribe to the idea that the notebook controls you but i feel like it's fair enough to say it has some kind of weak draw), and then didn't try it until ryuk showed up and she freaked out.

ryuk would be like well if you don't want to use it then just give it back to me. kiyomi "superiority complex" "control freak" takada refuses immediately. i think she'd rather die than get her memory wiped (i have not thought far enough to get to yotsuba arc yet. don't worry about it) and the idea that ryuk dropped it randomly and giving it back might result in some ~mass murderer~ getting it would be horrifying to her.

so of course she has to use it.

i actually have a different post in my drafts about how i think each dn character would use the death note but here is what i have for her

kiyomi: picks up the death note out of curiosity, scoffs, fully intends to throw it away but forgets until ryuk shows up. at which point she starts killing specific government officials at a rate of about one per day (she can't stomach indiscrete killing the way the others can). all the officials are found with a fingerprint-less knife stuck in their chest, so the police suspect a mundane serial killer, but no level of protection has been enough to save any of them yet. kiyomi probably tries to make them write down political demands as her "calling card" and then gets mad when she can't do that (the death note doesn't allow people to write things they don't know). instead she has to send tapes to sakura tv, where she interns, to get her manifesto out. the one time a knife isn't immediately available, the death note makes the politician die of a heart attack, which the media naturally attributes to stress. but Something Feels Off to L… do you know how much i would pay for the protagonist kiyomi takada version of death note do you KNOW she'd be so insane in a completely different way

i stand by this. kiyomi is way more politically minded than light, she talks to him and mikami about supporting kira entirely of her own volition, her first move when light tells her to start airing her own opinions is to talk about how she thinks the education system should start teaching kids about kira and how kira should instruct the army on how to act. kiyomi takada is fucking terrifying. Do Not Let This Girl Into The Government.

"but she supports the canon kira so wouldn't she act like him?"

well the problem is kiyomi has the intention but never has the resolve until pressed

(i have the manga panels to prove this but i can't be bothered to dig them up right now. sorry. One Day i will write a full kiyomi analysis and it will even be decent)

in this way she is much like chapter 1 light yagami. light going on a murder spree because he thinks his soul is about to be taken = kiyomi shaking and bloody in the back of mello's truck thinking i have to judge as many people as possible right now.

so in this scenario, since she didn't start killing until ryuk showed up and explained things to her, kiyomi is not motivated by fear for her life but rather fear for her memory + her canon support for killing everyone + "if someone else had this they'd do much worse than me" (just like light, with that one) (who else would have the guts?). so she does kill people but not as many. she puts thought into each one. ideally she wants to kill as little as possible for maximum impact.

i think she wavers between staging these deaths as suicides (invoking the societal stigma around them & so that there would naturally be a suicide note, etc) or making them obvious murders and would eventually go with the latter because she . also has a god complex. i mean nooo obviously it's because politicians will be more scared if they know someone's out there to get them!

anyway

what the fuck does the first arc look like

kiyomi imo gets just as mad as light does about being called evil. but unlike light she has more experience being called a cold bitch, snake, little miss perfect, etc, so she sees lind l tailor and does deep breathing exercises because killing him on air would do nothing but traumatize generations of children

so basically the broadcast ends and nothing happens until sometime around midnight lind l tailor drops dead of a heart attack

interpol was originally very mad at L for staging this whole thing because he has far less evidence that the killings are supernatural in this one, but they're kind of creeped out by this because of that other politician who had a heart attack — tailor was in the prime of his health and everything (L picked the death row inmate with the least history of cardiac disorders)

anyway [sighs really hard] this whole plot has to be reworked from the bottom up because kiyomi doesn't have access to police information and, unlike light, is not invested in The Game as much as she is societal change, so she wouldn't want to draw L out and eliminate him in the first place.

(i think kiyomi and light share the same fundamental loneliness in their souls — "if you were smarter this could've been interesting" / "you're the only man i've ever actually admired" — but kiyomi is drawn not just to intelligence but to people who share her principles, whereas light is drawn to people who can beat him at his own game. this is one area where they are different! thank god!)

(you could argue kiyomi is too, considering her reaction to misa, but her immediate response when misa starts getting under her skin is trying to leave)

(and besides i'm not even sure if kiyomi ever realizes lind l tailor was a scheme. like presumably she knows L is still alive and panics the day after when L is like hi. im still here. but since her killing was time-delayed L might not be able to get as much information and so he has no reason to gloat.)

anyway kiyomi's not giving L any clues so basically things are going to be a lot harder for L

but she's also going to spread kira's message through news stations so…………… more information source there? better not fuck up with that voice modulator kiyo

misa as second kira

oh thank god, l lawliet thinks, a development, i was about to die of stagnation

thankfully no matter how things shake out in first arc i think misa would still try to use the tv stations & the fake diary to get to kira, so that doesn't change. although since kira's voice is already becoming established she might have to do it in a more roundabout way (remember she also didn't want the cops to figure out she wasn't the first kira)

maybe this is how we can get manga misa to sing i'll only love you more????

anyway. they meet in aoyama, still. kiyomi went for the same reason light did: she has to size up her threat (see: inviting misa to dinner)

light & kiyomi significant difference no. 2: perceived gender

misa voice kira is a GIRL?!?!?!?!

she still buys all the information she can get on kiyomi. ("kiyomi takada… what a boring name.") (fun fact kiyo's pretty much the only character in death note with an entirely normal name; this is why her death is so shocking)

so misa shows up at her house all casual-like

light & kiyomi significant difference no. 3: where light's thought is "this girl isn't as stupid as i thought" kiyomi's thought is "this girl is the most dangerous person i have ever met"

like as far as kiyomi knows L is kind of useless. misa is the first direct challenge she has ever faced. misa can kill just by looking at a person. misa has a death note and she is sure as hell not giving it to kiyomi.

because if you interpret kiyomi this way, she hasn't avenged misa's parents

(i wonder if i could come up with a reason for her to do that because i admit the whole misa arc doesn't make as much sense otherwise… but let's assume not for now)

so why does misa want to meet up with her anyway?

well. who else is there who would understand.

anyway i kind of picture them close to this yagamane dynamic (sorry yagamane i'm stealing your valor). misa doesn't have any reason to be grateful to kiyomi, but she does want to be useful still, wants to have a purpose. wants to have people she can talk to in perfect honesty, but also has kiyomi's real name dangling over her head at all times and wants her to know that

also. crucially. she wants to have a perfect family because of course she does. in canon light is her gateway to this: by becoming his girlfriend she can integrate into the family dynamic. calls soichiro her dad, calls sachiko her mom… but this doesn't work with kiyomi because she's a girl and misa, as we all know, is totally one hundred percent heterosexual.

so. so:

Kiyomi sighs. "Okay. I… I suppose it's a deal." "Yay!" Amane jumps up and flings her arms around Kiyomi's neck; she's warm and unexpectedly bony and smells like artificially flavored shampoo and Kiyomi's heart spasms in her chest. It's been a long time since anyone's hugged her like this. She's a mature young woman and that means she doesn't hug people. "You won't regret this, Kiyo-chan!" "I am already," Kiyomi mutters. It's far too mean, far too revealing, but — oh, who cares, Amane already knows she's a serial killer. Amane's triumphant smirk as she pulls away carves its way into her skin regardless: she knows Kiyomi didn't mean to say that. "I'm so happy," Amane keeps going, patting her dress down like she's worried Kiyomi's gotten lint on it. "I've always wanted a little sister!" Kiyomi stares. "What." The look Amane casts her is pitying. "Didn't you know? You're a year younger than me." "That is not the problem here," Kiyomi hisses. (It is sort of the problem.) "I'm an only child!" "I know," Amane says very patiently, "I bought all your records, remember? I'm an only child too!" Is this a bonding moment? Is Kiyomi finally experiencing Lady Macbeth insanity? "We don't look anything like each other," she points out. "If you're planning on another disguise—" Amane rolls her eyes. "Ugh, you're so serious all the time. Lighten up a little! I'm joking! We can just be sisters from different mothers, or whatever they say. Together forever, you know? Through thick and thin? You won't die on me, will you?" Kiyomi, being an only child, is not entirely sure what having a sibling is like, but she's pretty sure the rage(?) coiling in her stomach isn't it. "…Not unless you kill me." Amane smiles. It's not as wide as usual. "Well, that's a start."

[tapakah0]

I'm sorry @milodee I stole it and want to post separately XDDDDD