#ennui go

[yokonette]

Ennui 💜

[doctorglasgowart]

Artwork for the next two trading cards.

[multiplebirthinwebcomics]

Forte Bass and Outrageous Apple, Crow, Magpie and Raven, Charles and Isabella and Fletcher and Milo are qualified for the bracket !

[howlingguardian]

Just discovered a webcomic called Ennui Go. It's all sex jokes and absurdism with occasional criticism of the gaming industry.

I've been hooked on it for hours instead of writing. Send help.

[joanofarc]

concentrate, new bad things (1997).

everyone is leaning out their windows everyone is staring at the sky it becomes easier and easier to say yes to me the more you try

[the-yoshir]

_Generic

[ymbrtty]

French shrimp, my beloved.

(She just like me fr fr)

[1tsstargaze59]

Indulging in multishipping becuz I can (part 1 probably) ^^✨️

Why do they get to be human for a sketch? Idk, I wanted to XD

All ships go hard honestly, there's really only one that makes me uncomfortable, which is very rare for me! I mean that I enjoy literally all* ships like - usually shipping isn't my thing in fandoms, it's making ocs, I love making ocs XD hhhhhhhh I lost my train of thoughts-

OH YA!!! DROP SHIPS IN THE COMMENTS I MIGHT DRAW THEM IN THIS STYLE LATER OAHABIWBSKDHSBDOS- 💥💥💥

UPDATE : PART 2 IS OUT AND REQUESTS ARE CLOSED TY <3

[xx-sketchy-xx]

C’mon.. you know she’s fabulous when her hair is like this

I want to bite her like this/pos

[themostimportantnight]

To all of the people here who, like me, are also led by Anxiety, Ennui, Fear, and Sadness (and sometimes Joy, when she can get the lid off of the jar):::: I hope Pride Month treated you well

(+ a bunch of doodles under the cut!!!!!!)

[caligvlasaqvarivm]

prince and prince friendship. this is my vision

[doctorglasgowart]

Become down wit the clown right fucking now I'm not joking.

[multiplebirthinwebcomics]

Brenda and David, Selva and Warwick, Chunhyang and Mong-Ryong and the PPPPPP septuplets are qualified for the bracket !

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[theknucklehead]

I like all the little details you can see in the emotions' bedroom.

Joy has a paper mache of Bing Bong

Sadness has a tissue box

Fear has multiple night lights and a guardrail

Disgust wears a sleep mask

And Anger has a concrete block for a pillow and tin foil for a blanket.

And if you read the book "Go to Sleep, Anxiety!" you can see the sleep routines of the new emotions. (Altough they don't seem to have their own beds, I'm guessing because it takes place while headquarters was still being renovated)

[blog-by-kij]

I love the Inside Out films because in the first one, Joy—among other characteristics—is a huge arrogant, controlling, and self-centered ass and in the second one she’s a less arrogant, controlling, and self-centered ass BUT that’s the point! That’s great! They didn’t make her suddenly not any of those things in the second one, which is good because that would be a bizarre and bad character rewrite. What would she be if she’s not those things? She’s still those things but understands how to better use those characteristics to serve Riley the person, rather than her idea of what Riley should be. This is her whole entire job, and she does it well. Nothing wrong with being proud of a job well done.

BUT, when she doesn’t understand how the other emotions are necessary too, she ends up suppressing Sadness or attempting to curate Riley to make her happy, in a softer way than Anxiety did but still to the same effect—controlling and restricting Riley’s full experiences at the expense of Riley. She became not controlling of other emotions by the second film but turned out to still be a little bit controlling of Riley in that one. But by that time, she already had the experience of learning that she could be wrong and was therefore more open to the idea that she could be doing something wrong again. Joy will do literally anything to make Riley happy, and that includes—most importantly—growing as a character, reflecting on her actions, changing behaviors, and learning how the other emotions do in fact ultimately make Riley a happier and better person.

Another thing I like is that she wasn’t mad at Anxiety, she didn’t punish Anxiety or suppress her, because she learned from Sadness that all emotions have a valuable purpose for Riley and she didn’t ever need to be reminded of that. In real life, when does being mad at or punishing your anxiety or sadness or anything help? And then in the end, Anxiety drinks her tea on her special chair, suggesting that Joy and the others made a space where Anxiety could be close and a part of it all in a way that serves Riley best. They made a way to respect the function that Anxiety has without ignoring her or letting her have excessive control over Riley. Not exerting excessive control over Riley is a lesson that Joy learned alongside Anxiety, and perhaps couldn’t be learned from anyone other than Anxiety.

Joy has to be the one that the story is told through because she has to be the one to learn and grow—and by the end of both films, she is a much stronger character for it all, and Riley is too. This makes perfect sense, because when you think about it, your capacity for joy is strengthened when you understand and value the legitimate role that sadness and anxiety play in your life.