#and i hate that ofc

[iolite-flames]

Hey so should I post the likely insane and most definitely incredibly illegible rambling I made today to try and understand my evil oc cult that is hellbent on imbuing the population with the accursed lifeblood of an almost blood-hungry tyrant because they think its the next logical step for humanity or nah? (I will do my best to transcribe it, because my penmanship is like… THE WORST) but yeah :) fun stuff about the genetic modifications, horrible physical transformations, some character highlights, group hierarchy, extraction and qualities of the stuff they use, etc? Planing to add to it and all but im always such a scatterbrain when it comes to ideas and concepts! (Thus why ive been REALLY trying to nail it down into something more fleshy and concrete!)

I’ll like actually do it this time if yes i swear i just forget (or sometimes the result is more daunting than anticipated), but like I actually have em sitting in a folder on my phone i just gotta pretty them up by making them… idk actually readable? No right answer, just seeing if people wanna see (i am SO BAD at sharing it makes me NERVOUS AF)

[rosieyart]

fucking weirdos…. ew

[titanofthedepths]

Yes you’re not fatphobic but are you capable of talking about fat people in a positive manner without saying somft/round/rotund/squishy/tumby/chumby/any other variation of the sort. Are you capable of talking about us in a positive manner without it being about beauty or attractiveness. Are you able to talk about fat people in general without being dehumanizing or infantilizing. Can you treat fat people with respect.

[lyragoth]

Maedhros, the tall & Galadriel, the... tall?

[mzzenroody]

im obsessed with fem kenny i fear

[mrbrightxside]

Gen Z Coachella Fit as per request by the awesome @primroseduck 🔥🔥🔥 Enjoy your meal Jerry fans

I have more Gen Z sketches I might do an art dump this week ✅

[juanitascribbles]

After 13 years I finally drew that weird candy guy

[iamteamponcho]

[thatonegaybrit]

; seeing a lot of posts about this recently so I just want to clarify something :

I, a trans boy, do not pass as a boy. I also, do not pass as a girl.

I am truly only perceived as a gay tranny freak, and that is not privilege.

pt: I, a trans boy, do not pass as a boy. I also, do not pass as a girl. I am truly only perceived as a gay tranny freak, and that is not privilege :end pt

[yellow-sword]

I like her but that screenshot from the trailer (under the cut) is just rlly funny

his face

[i-reblog-castiel]

"Angels have very colorful wings" factoid actually statistical error. Castiel Supernatural, whose wings glitter in every shade of the rainbow both visible and inconceivable, is an outlier adn should not have been counted.

[whenthewallfell]

Some of the supporting cast of the thg/rdr mashup! I was gonna wait until the proper portraits were done but got too impatient haha

(deets below the cut)

Haymitch Abernathy

Not much is known about who he was before coming to New Hanover - his youth, his family, and his name are all things he refuses to talk about. What is known is that he spent some time as a migrant worker, travelling the states until he eventually came into the employ of government official Coriolanus Snow as a gun-for-hire. Snow later granted him a homestead in Cumberland Forest, in what would become a precursor to the General Allotment Act.

Despite the close proximity and occasional trades with the Wapiti tribe, Haymitch rebuffs all offers of community, preferring to spend his days in solitude. Recently, however, Katniss has strongarmed her way into his life, using his house as a base of operations whether he wants her to or not.

Johanna Yau

Yau Qiuyue was born and raised in West Elizabeth to a railroad worker and his wife, until the Chinatown they lived in was burned down by locals. Qiuyue was one of the few survivors, taken to be sold to a brothel; the men were found dead a few days later with a hatchet buried so deep in one man's skull they couldn't pull it out. She reappeared travelling under the name Johanna Yau with a bounty hunter, Haymitch Abernathy, who took her under his wing and taught her how to handle firearms.

These days she's something of a local legend - a vigilante who wipes out gangs and deals brutal justice to those who target immigrant workers. Known as The Dragoness of West Elizabeth, she is sometimes accompanied by the woman journalist Cressida Mason, who chronicles (and embellishes) her deeds. They make for an odd couple, preferring each other's company to that of any hopeful suitors.

Euphemia Trinket

A somewhat naïve secretary of Snow's who was tasked with monitoring his investment in the new allotment project, Euphemia is required to make fortnightly checkups and send reports on Haymitch's progress with the homestead. The position, while offering more freedom and independence than she might find otherwise, is not without its downsides - the fashion and culture of New Hanover is severely lacking in her eyes, and she misses the hustle and bustle of Blackwater.

Originally, Effie believed that what they were doing was essential to the betterment of their native neighbours and their introduction into Civilised Society, but she is beginning to have doubts after seeing the true extent of Haymitch's depression and the living conditions on the nearby reservation.

Primrose

Sister and polar opposite to Katniss, Primrose is a sweet girl with a sunny disposition, growing into a fine healer under the tutelage of her mother. She's also an accomplished sewist who is fascinated by 'modern' fashion, and enjoys blending outside and Wapiti influences into her own clothing whenever she can. She sometimes offers to work on Effie's as well in exchange for fashion plates and fabrics from the city.

Despite her gentle manner, however, Prim is deeply stubborn and fiercely devoted to her tribe and family. She thinks Katniss' idea of shipping her off to some random faraway city is the stupidest thing she's ever heard, and isn't afraid to fight her sister every step of the way.

[killerpancakeburger]

Oblivious!Human!Reader x Smitten!Werewolf!Soap 🐺

Soap, pinning them against a wall, in a growl: Y'drive me bloody mad, y'know tha? (sexual) (bc Reader has been missing all the hints he drops)

Reader: Oh... sorry (interprets "driving mad" as "annoying")

[casscainmainly]

A Deep Dive Into Why Cass Threw Dick Out A Window

If you've been here long enough you've probably seen or heard of this moment, which is super hilarious and iconic. It's mostly discussed in reference to Dick and Cass' relationship. However, in my opinion Cass throwing Dick out a window had very little to do with her opinion of him, or even of Barbara; it has more to do with her understanding of romance and love. I briefly touched on this in my gender/sexuality post, but I'm going to explain more in depth my interpretation of how Dick functions in Batgirl (2000) as a whole. (This moment is very open to interpretation though, this is just my opinion!). So let's try to answer Dick's question: what was that all about?

Love, Language, and DickBabs

While Puckett's run is notable for not having Cass date anyone, romantic love does play a role in Cass' early understanding of the world. It's the impetus that spurs her to write: in issue 2, she sees a wife read a letter from her deceased husband, and her reaction affects Cass so strongly she immediately starts trying to write. (She also kisses the husband on the cheek earlier, which may or may not be a crush). Romance, and the ability to communicate your love, is a fundamental part of Cass' desire to learn language.

So we have Cass, who has experienced neither love nor language, living with Babs, who's in a relationship with Dick. This telephone conversation in #4 (the issue where a metahuman changes Cass' brain into understanding language) again links romance to communication. Dick and Babs are talking on the phone, unable to see each other but understanding each other perfectly; Cass and Babs, on the other hand, live together and can't understand each other at all.

"She can't talk, so it's not all that different [to living alone]." Babs is telling an eavesdropping Cass that her inability to speak prevents her from love and connection - a love and connection symbolised by one of the first romantic relationships Cass is consistently around, Dick and Barbara.

Dick as an Ideal

There's a debate whether Cass likes Dick or not because half the time they're friendly, and half the time she's punching him or throwing him out windows. This disparity makes sense if you consider that Cass strongly associates DickBabs with communication, understanding, love - very idealised notions - but she does not associate Dick as a person with them. Her interactions with Dick (sans Babs) are cute and normal - Batgirl #29 and Nightwing #81 feature some very adorable Dick-Cass moments, with no real tension whatsoever.

It's only when Cass sees Dick in a romantic light (as in associated with Babs) that she makes him into a symbol.

Cass often tries to copy Babs, thinking it's the 'correct' thing to do - in DC First: Batgirl/Joker, she goes after Joker because that's what Barbara did; later in Horrocks' run she'll wear Barbara's outfit. In a way, Cass' affairs with Tai'Darshan and Kon - as much as I do think Tai'Darshan was genuine attraction - is another way to 'copy' Barbara. In #42, Cass stares at a picture of Dick and Babs while asking if Babs likes boys. Obviously Cass knows the answer is yes, but see what she asks next, and how Barbara responds:

She shifts from 'like' to 'love', and Babs responds that she 'care[s]' about him. For Cass, whose arc in Horrocks' run is about parsing out the nuances of attraction, understanding the difference between like, love, and care is incredibly difficult. She struggles to separate familial from romantic (Bruce in #50) or romantic from platonic (Kon, and in somewhat the reverse way Steph). In this conversation, Cass comes to associate Dick with like, love, and care - DickBabs becomes not just a symbol of romantic love, but of any connection whatsoever.

The Old Costume

I've discussed elsewhere that Cass wearing Babs' old costume in #45 is a representation of her desire to be 'girly', and how she associates girlhood with someone other than herself, discarding her own costume for Babs'. But putting on a costume is not the only prerequisite for being a 'girl'. In Babs' speech to Cass, she emphasises being sexually attractive to men, with her final comment being about this "particular look Dick used to give [her]". For Cass, visual language is incredibly important; putting on Babs' costume is not about being or feeling like a girl, but about being perceived as one. Dick is symbolic of the perceiver: the one who can essentially 'grant' women their femininity.

But Cass is disgusted when Tim calls her hot, which adds to her confusion - why should Dick being attracted to Babs make Babs happy, but Tim (who's not a sibling at this time) perceiving her like that grosses her out? Cass' inability to feel good - to feel 'feminine' - through the male gaze is another sign, to her, of her failure to be a woman.

Which finally brings us to issue 46...

That Ableist Kon Comment

Cass finds out Dick breaks Babs' heart and then starts hallucinating on a drug. One of the things she hallucinates is Kon saying "who wants to date a cripple? Ain't that right, Nightwing?" and Nightwing responding "not me--at least, not anymore."

For the first time, we get to the heart of why DickBabs mattered to Cass: it was an example of a disabled person in a loving, romantic relationship. It goes back to that phone call in #4, where Babs implies that Cass is hard to care about because she can't speak. The Kon comment suggests Cass has carried that with her all this time, trying to find proof that she can be loved, no matter her disability. DickBabs showed her it could be done - the break-up shows her now that it can't be done.

Dick's hallucination mocks her disability: "look at her--she can't even read!" Attributing this mockery to Dick (whose real-life counterpart, unlike the other hallucinations, has never said anything remotely like this) shows that this 'Dick-as-ideal' is intrinsically tied to Cass' self-worth.

Honestly this whole post stemmed from me thinking about this one panel. There is no real reason, from Cass' view of Dick as a person, for her to think he's brave and noble and kind (more so than anyone else). But it's in the DickBabs context - that Dick seemed to love, wholeheartedly, a disabled woman - that makes Cass think this way. And now that DickBabs is broken up, it shows that she, too, is rotten to the core; that someone like her cannot be loved.

And so when Dick shows up, she throws him out the window.

Conclusion

In this moment, Cass isn't just reacting to Dick breaking up with Barbara, she's reacting to what it means to her. If Dick can't stay with Barbara, then that means Cass, as another disabled woman, is also unable to be loved. This all leads up to #50, which features another Cass punch to Dick's face, but more importantly is when Bruce and Cass reconcile through Cass' first language. It's a confirmation that though her verbal skills may not be fully developed, she still can communicate, and she can love and be loved.

I don't think a lot of the ideas I touched on here are fully developed, or conclude cleanly. For example, how does Cass' 'failure' to be a woman relate to her inability to be loved? Is she able to have a stable romantic relationship? There are lots more questions, but the role Dick specifically plays in Cass' understanding of romance is probably not going to develop further. I just think it's interesting how Horrocks uses the Dick-Babs relationship to explore Cass' identity.

[rystiel]

that annoying moment when getting left for dead in the trunk of a car in your 20s comes back to haunt you 40 years later (take a shot every time ford says “stanley”)

[gomzdrawfr]

Warning

Bonus: