#just a little observation that's all..

[crownspeaksblog]

No because I absolutely loved watching ed fight! For 2 seasons we never saw him fight, he was always making his crew do it, even when was in full kraken mode, he just fires one shot and stands back and let them do the rest.

While in 2x08 he was killing left, right and center! He casually took out two English soldiers, UNARMED and used their rifle to choke them out, in a little rowboat, then he choked and broke someone's neck with ONE fucking hand while holding and READING stedes love letter with the other! Then later, on the beach, he was fighting two soldiers, while two more were coming at him and you can see that he already took out NINE others (yes i went back and counted!) Also when he took someone's rifle and put it on their shoulder and shot someone else.. I can't.. He's a fucking menace! A hot fucking menace!

I just think it's neat he went around slaughtering the English like they're nothing after he hallucinated stede, the love of his life, yelling for help!

[ghost-bxrd]

Prompt:

It’s not that Jason forgot, per se.

But between smuggling a toddler out of the League of Assassins, trekking halfway across the world, and finding a suitable hiding place that’s also child friendly… well, it kind of slipped his mind that he’s supposed to be… dead.

Something that comes back to bite him in the ass when he takes Dami out for some ice cream and just so happens to run into non other than Brucie-fucking-Wayne

[egophiliac]

I love the idea of teenage Malleus hating his new baby brother Silver but slowly falling for him

words cannot express how much I adore that Mal's reaction to seeing a human baby for the first time was "the fuck is this. why does it look like that. gross." (then he immediately got stuck on babysitting duty and the rest is history)

I am SUCH a sucker for that trope of "non-humans being fascinated by normal human behavior", so between that and all the delicious angst going on I was eating VERY well. >:) Malleus being so impressed that two-year-old Silver can walk, because it took him twenty years to stand on two legs! Lilia barging in on the Zigvolts at 2 AM being like "he won't stop crying what do I do"! Lilia trying to feed Silver rats and Malleus being like "...please just stick with what the books say to feed it"! it is all so. chef's kiss.

[celluloidbroomcloset]

It occurs to me that as much as Ed wants to be able to be vulnerable and not have it used against him, Stede wants the same thing. He was bullied as a child and bullied as a man, and his reaction was to retreat into his fantasies where he was tough and strong, embodied in pirates. He tries to make those fantasies into reality and finds that he really doesn't want to commit the kind of violence that he would have to "to be like Blackbeard," then learns that "Blackbeard" is actually an unhappy man named Ed searching for a better, kinder life and identity.

But Stede still wants to be able to defend himself. He wants to protect people he loves. He also wants to be able to cry openly and be gentle and kind and not be mocked for it. He finds that with his crew, who at first think he's ridiculous and then will do anything for him because he'll do anything for them. Then he finds it with Ed, who embodies all the masculine attributes that Stede wanted to find in himself, but who also badly wants softness and kindness without fear of pain.

Stede is entirely able to be vulnerable with Ed. He can play games with him and not be laughed at, and tell stories and be listened to, and say the softest things like how he loves "breathing the same air" and Ed will just smile and melt. It takes them a little while to get there, but it's so lovely that Stede finds someone who will be disappointed when he stops talking and who loves him for all the things he thought he had to conceal about himself.

(gif by @kiwistede)

[daily-odile]

Odile patting Molly Epithet Erased on the head, you know why

have two bc i care them

[ride-a-dromedary]

After moving frame-by-frame for hours (GIF-making), I can confidently say that whether it be twitching animation cycles or maybe not a purposeful thing or what, Halsin's hands have a tremble to them when he moves them about.

Which in itself (while neat) is a tiny and easily missed detail because it's not inherently noticeable, but it's backed up by the fact that Orin - who seems to take traits both physical and verbal from her victims - very animatedly shakes "Halsin's" hands when imitating him (she does not do it nearly as emphatically with other companions she kidnaps, if at all). The key is that the traits she adopts do seem to be pre-existing. Ergo, Orin took that physical trait of Halsin's shaky hands - which would have been believable in itself - but dramatically increased it to 11.

tl;dr - Halsin's hands tremble/tremor when he talks. Thanks for listening.

[somegrumpynerd]

How absolutely wild must it have been for Nightmare to have like, minimum-to-no contact with mortals for hundreds of years and then the first two he has any regular close interactions with are Killer and Dust.

Like he must have a book in his castle somewhere of all the observations he kept like he was studying a new species

[mishapen-dear]

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc

[gailynovelry]

Fun concept to introduce writeblr and readblr to; slowburn worldbuilding. Picture this. You are dropped into a setting. The rules of the setting are not immediately explained to you, but as the characters move along the plot / their lives / their character arcs and the world, you start piecing things together. Maybe the characters already know what's up with their world, but you as the audience have to figure out what's up based on what you encounter over time.

[comradekatara]

sokka, katara, and the paradox of “the gifted child”

something i’ve noticed is a tendency to (mis)characterize sokka as someone who is dismissed due to being a nonbender, when that’s only partially true. sokka is certainly dismissed by some for not being a bender (namely, by benders), but i think there’s a key difference between being dismissed and not being valued in one specific way. katara was valued by her tribe for being a waterbender for the very crucial reason that she was the last one left. had she been a dime a dozen in her tribe, which would have been the case were it not for the systemic extermination of her people, she would not be valued as highly for possessing this skill. that said, while sokka clearly does hold some resentment over his lack of bending ability, calling himself “the guy in the group who’s regular,” i think it’s folly to assume that this means that sokka was dismissed and discarded as “average” while katara was put on a pedestal for being special. because while katara obviously was considered special, sokka is also clearly considered special by his family, merely in different ways. and if anything, sokka embodies the archetypal struggle of the so-called "gifted child” far more than katara does.

while sokka clearly believes himself to be disposable and intrinsically worthless, i don’t think that he was actively neglected by his family. even if katara was clearly marked by her bending as embodying the last hope of their tribe, that doesn’t mean that she was seen as more gifted than he was or was designated as her family’s obvious favorite. for example, the way hakoda talks about sokka (saying he trusted him with leading and protecting the tribe when he was thirteen, calling him a genius, and other such insanely high praises to heap on a child) shows that he clearly views his son as particularly exceptional and has never been shy about showing that. sokka is distinctly insecure around his father for assumptions he makes regarding hakoda's faith in his abilities and his insecurities when it comes to his perceived failure in not measuring up as a man, but from the second we meet hakoda, it's evident that these insecurities are entirely internal and completely unfounded, at least in terms of his father's perception of him. hakoda is nothing but incredibly proud of sokka, constantly emphasizing just how capable and brilliant he believes him to be. whether or not sokka is capable of internalizing it is another story, but it's clear that hakoda is not stingy in his praise and affection, not even a little bit.

moreover, while katara is clearly kanna’s favorite on an emotional level, she nonetheless affords sokka far more respect. she admonishes katara and tells her to do her chores, and notably, she also impresses the importance of “listening to her brother,” and backs up sokka’s decision to banish aang from the village. you can claim that sexism plays a factor in how sokka views his own supposed position of authority, but kanna is a woman who traveled the entire globe as a teenager because she wanted to escape patriarchal impositions dictating her life. she’s simply far too smart to treat sokka as any sort of authority within their village if she did not fully entrust him with that responsibility. she treats sokka almost like a peer, as if she is legitimately co-running the village with a fifteen year old boy.

katara is only a couple years younger than sokka at most, but her dynamic with kanna is very different. on one hand, kanna clearly sees more of herself in katara, can identify with her sense of adventure and rebellious spirit, but on the other hand, it means that she views katara as a child to be taken care of, who needs to be reminded to do her chores and bailed out when she gets herself into trouble. sokka doesn't want to be viewed as a child, and so he does everything in his power to position himself as kanna's equal rather than her grandson. he takes his duties and responsibilities very seriously, and is obedient to a fault whenever he is submitting to any authority he actually respects, especially his father and grandmother. to be honest, a lot of what katara considers coddling is probably just sokka never being bossed around by their grandmother because she never actually has to tell him to do his chores. because despite katara's claim that he simply faffs about "playing soldier," sokka's problem is actually that he takes himself too seriously for her liking. and with the exception of kanna saying "be nice to your sister," which is the kind of teasing a parent says to their child, she clearly respects sokka's position in the village. when katara tries to run away with aang, kanna takes sokka's side and forbids her from acting impulsively, but when sokka is the one who packs supplies and plans to save aang, kanna gives them both her blessing.

katara is the only person who takes umbrage with the notion of sokka running the village and telling her what to do all day. and those frustrations have likely accumulated up from a lifetime of being told to “do as her brother says” and “why can’t she be smarter and more responsible and levelheaded blah blah blah.” she clearly thinks that she’s punching up when she yells at or mocks him, which may seem crazy to anyone who understands that sokka’s entire identity and existence revolves around being katara’s protector, but katara doesn’t actually know this. in her mind sokka is merely the perfect child who has always represented this impossible standard of “genius.” and what's more, he's absolutely insufferable about it.

and to be clear, this isn’t to say that katara herself isn’t highly intelligent, capable, competent, and skilled. she’s not only an incredibly talented waterbender, but also clever, quick, witty, creative, resourceful, practical, mature, and thoughtful in other ways. at one point, toph calls her a genius (“a stinky, sweaty genius”). and she is, indeed, an extremely powerful and innovative waterbender, both due to her hard work, but also because she is genuinely brilliant. that said, she’s smart in the realistic way that a kid is smart; she works hard to be good at what she cares about (and she has an existentially devastating reason to care about being a good waterbender, mind you), and she’s also good at thinking on the fly when she needs to. however, unlike sokka, or even toph, her intellect may be impressive, but it isn’t astonishing. sokka’s mind functions completely anomalously. i wouldn't say he's unrealistically intelligent, because i do know some people in real life who are similarly adept at processing all kinds of different information with the ability to deftly apply it near-immediately, but it is certainly abnormal, both for real world standards and within his universe.

i normally bristle at this term and its applications (for multiple reasons), but since it is explicitly stated multiple times across the show, it is important to acknowledge that sokka is referred to as a genius multiple times, including by his father. katara is referred to as being a genius by toph for using her own sweat to waterbend (which, as hama points out an episode later, isn't even that clever because you can literally bend water from the air around you); conversely, sokka is referred to as a genius for helping to invent hot air balloons and for figuring out multiple escape routes from the world's most secure prison in less than a day. we don't know the exact timeframe under which katara trained with pakku and earned the title of master, but she clearly worked incredibly hard to earn that title, not only as a master, but as the greatest waterbender in the entire world. i assume it was any time between a few weeks and a little over a month in which zhao would organize a fleet to arrive at the north pole, which is, of course, extremely impressive in itself and a testament to her passion and determination. however, on the other hand, piandao claims that sokka has basically mastered the sword and is ready to make his own within less than a day. it's important to remember that katara is also brilliant in her own way, and possesses great skills that sokka lacks: not only bending, but also midwifery, and an ability to locate her own emotions and allow herself to be vulnerable with others, two skills which should never be looked down upon for their association with womanhood and femininity, and are also particularly impressive considering just how young katara is. she is brilliant in her own right, and in any other family, katara would easily have been "the smart one." and yet, sokka is simply in a league of his own.

so, yeah, he can stand to get thrown around and yelled at; everyone her entire childhood just kept on impressing how special and perfect and brilliant he is, he can handle it. she has no idea that he is depressed, depersonalizes, loathes himself, and thinks he’ll never be good enough, because he never actually communicates any of that to her. the closest he ever comes is admitting that he’s jealous due to not having bending abilities, and even that shocks katara, even though it’s such a small and obvious admission in the scheme of things. she has no idea what’s going on with him psychologically, how he views himself in relation to others, and specifically in relation to her, so she kind of just assumes he’s entitled because surely he must know how special he is and thus feels owed accolades by the world at every turn. he deserves to be humbled, and she is in fact righteous for humbling him.

when she makes fun of him for being stupid or miserable or paranoid or cynical, she thinks she’s owning him the way a righteous underdog fights against an oppressor. it's similar to how zuko wants to "put azula in her place." in katara and zuko's minds, they are both the valiant underdog siblings who had to fight and struggle against the siblings for whom everything came so easily. and in katara’s mind especially, she is always punching up, and she always has a moral justification in lashing out at anyone she pleases. so she couldn’t fathom that the reason sokka puts up with her antagonism without complaint isn’t because he’s so above her that he can simply ignore her taunts and gibes without a care (if that were the case, he wouldn't bother to taunt and gibe in return), but rather that he feels so detached from his own personhood that he would never think to actually explain his feelings to the person whom he has defined himself through since childhood. and if he did ever, somehow, communicate that to her, she’d have to reevaluate their whole entire lives and dynamic. but he never will communicate that to her, so she’ll never actually have to do that.

moreover, even though katara often does tease sokka and cast doubt upon his competence and abilities in low-stakes situations constantly, whenever they are actually facing a real problem that requires an immediate solution, katara seems to forget that sokka is supposedly an unhelpful, lazy, immature idiot because she immediately turns to him to fix all their issues. and then once that issue is resolved, katara goes back to finding his existence bothersome. sokka, on the other hand, falls into this role of problem solver instinctually, with the one exception that when they actually name him as the idea guy, he jokingly complains that it’s a lot of pressure to be one who is always expected to come up with solutions. and while he is joking during that conversation in “the drill,” he’s being honest to an extent, because his perfectionism and fear of failure is truly dire.

when katara is faced with failure, whether as the consequences for her own actions or otherwise, she simply gets back up and tries again. she can’t be knocked down, she can’t be deterred from achieving her goals. she has a very healthy approach to making mistakes, and while she doesn’t always learn from them in the longterm, she does always try her best to fix them and amend the situation as immediately as possible. katara is someone who is incredibly resilient and is constantly demonstrating the sheer magnitude of her inner strength, especially in particularly difficult moments. she has the ability to fail as many times as it takes without letting that failure affect her own self-esteem or desire to keep striving for what she believes in.

sokka, on the other hand, is very physically resilient (he gets beat up a lot), but his emotional resilience is actually quite pathetic. he has no tools for coping with failure. from even the slightest mistake, like not actually being able to open the doors at the fire temple with his makeshift explosives, to a catastrophic one, like his failed invasion, sokka immediately retreats inward. in “the boiling rock,” sokka demonstrates how his first ever real failure that rests squarely on his own shoulders is so devastating to him that he becomes totally irrational and suicidal in an attempt to “rectify” the situation. he does not know how to cope with failure, because he expects himself to be perfect at all times. and it’s not because sokka is overly proud, but rather that his guilt complex is so profound that he blames himself for every single thing that goes awry at all times, even when it isn’t actually his fault whatsoever. so that guilt and shame is magnified a thousand fold when sokka is actually culpable for those losses.

one of many ways in which it is evident that sokka is the older sibling is that he clearly lives with the mentality that if katara messes up or gets herself in danger due to her own impulsive inclinations, it’s always actually sokka’s fault for not being a better, more attentive brother. when she sets off the booby trap in the banned ship, sokka banishes aang from the village so as to protect katara from herself. when katara experiences the consequences of heedlessly blowing up a factory, sokka gets mad at her for her recklessness, but also immediately finds a way to help her fix this situation, because that’s his job, and in fact, his primary purpose on this earth. this is a dynamic sokka has probably internalized even before he was assigned the role of her sworn protector, because that’s just how being the eldest is.

sokka’s tendency to take responsibility for everyone else’s mistakes and his desire to shoulder everyone else’s pain at all times, coupled with his implicit belief that he, uniquely, cannot afford to mess up ever (if other people make mistakes it’s fine and he can help them fix it, but if he makes mistakes he no longer has a purpose on this planet, goodbye cruel world), definitely indicates that he was held to an incredibly high standard all his life. he expects himself to be able to handle a lot of responsibility with perfect ease because he always has. he isn’t used to making mistakes of any kind. if he puts his mind into learning a new skill, he always masters it within a couple of days, whatever that skill happens to be. unlike katara, sokka is used to things coming easily to him, and what he isn’t used to is failure.

katara and sokka are both exceptional, of course, but in very different ways, and for very different reasons. katara grew up with a lot of external pressure to excel as a waterbender, because she needs to embody her cultural legacy and prove that her mother’s sacrifice was not in vain. it’s an unfathomable burden to place on a child, and the rate at which she improves her waterbending once she is actually given the resources to hone her skills is a testament to her perseverance and untiring dedication. katara becomes the greatest waterbender in the world not because she is a natural prodigy (which is something she bristles at when aang does display prodigious skill), but because she is incredibly determined and no one can outmatch the strength of her heart and unshakable commitment when she is pursuing a goal. as pakku even says, raw talent isn’t everything, and katara’s abilities prove that despite not being “naturally gifted,” hard work and determination is far more important when it comes to excelling in any given domain.

however, if katara’s motivation to be excellent is externally imposed by the tragic circumstances of her life, sokka’s motivations are, at the very least, internally maintained. as aforementioned, i have no doubt that he received a lot of external validation and praise from the adults in his life as a child with a dazzling, brilliant mind. as has been established, sokka is constantly displaying an ability to synthesize new information at a staggering rate, which likely means that before katara had even discovered her ability to waterbend, sokka was probably being fawned over for the impressive rate at which he was picking up new skills as a baby. since pretty much everything (cerebral, at least) comes easily to sokka, i can only imagine that hakoda, who never hesitates to express to his children how proud he is of them, would constantly affirm sokka’s intellect. and by boasting that sokka takes after himself (hakoda also refers to himself as a genius, completely sincerely), he unwittingly plants the first seeds in fostering sokka’s belief that he must be exactly like his father in every way, and that any deviation from hakoda’s image would prove him unworthy. but he will never be the spitting image of hakoda the way that katara is "the spitting image of kanna" because sokka is already the spitting image of kya, if not – perish the thought – his own person entirely.

unlike katara, who spent her whole childhood trying to waterbend by herself with little success (beyond, of course, isolated instances demonstrating her sheer raw power when her bending was being influenced by her incredibly strong and passionate emotions), sokka always felt like he could handle the amount of responsibility he was given, because everything came easily to him. until the day that his life changed forever, and suddenly the stakes were no longer abstract, but tangible and personally devastating. sokka had never learned that it was okay to fail as a child because he never had a reason to, and then suddenly, he could not afford to fail under any circumstances. failure of any kind went from being a (purely hypothetical) blow to the ego, to being something that could directly endanger the lives of his loved ones. and so sokka decides that the only way to not be culpable for his potential failures is to be a martyr.

of course, there are instances in which sokka is proven to be inept, such as on kyoshi island or with piandao, wherein his humility and open-mindedness are put on display and sokka puts aside his own standards of perfection to learn from a master, but i don't think these instances qualify as failures. for one thing, sokka happens to master the forms he is being taught in less than a day, at an unprecedented rate, and thus these initially humiliating blindspots in his knowledge become victories as sokka absorbs new knowledge. sokka is always eager to learn, and willing to acknowledge his lack of expertise in area, humbling himself to learn from others any chance he gets. no, what i mean by "failure" as it relates to sokka's self-perception and ego is not a lack of knowledge, but an inability to protect another. to sokka, his existence is defined by his ability to provide and protect, and thus, a failure is, specifically, when someone gets hurt under his watch. that is what it means to not be able to afford to fail. he is not overly proud (if anything he is overly insecure), but he also understands that the stakes of failure – real failure – are tangible.

so when it comes to failure that carries grave consequences, he would rather be dead than fallible (or, responsible for not adequately protecting his loved ones), one million times over. and so every time someone makes a sacrifice for him, he feels as if he has failed on a fundamental level, because simply being exceptional is not enough, he must also bear the entire world’s suffering alone – as (in his mind) hakoda instructed him to when he left him behind to protect and provide for the village. otherwise he has failed in his promise to be needed, which is his raison d’être. sokka’s complex is very obviously not informed solely by his upbringing as a “gifted kid,” and in fact largely informed by the dehumanizing logic of war as it necessitates sacrifice, but his inability to accept his own fallibility as a product of his self-dehumanization is, at the very least, compounded by his debilitating perfectionism.

thus, katara and sokka's dynamic within their family isn’t “gifted kid and neglected kid,” but rather “two gifted kids who are gifted in different ways, one of those ways being valued more on a cultural level due to its scarcity as a byproduct of genocide.” while katara was put on a pedestal her entire life due to her ability to waterbend, it doesn’t mean that sokka wasn’t put on a pedestal in other ways. if anything, the reason hakoda entrusted a child with the burdens he did was specifically because he put his son on a pedestal. sokka assumes that hakoda didn't think he was capable enough to join his army, but that couldn't be further from the truth. hakoda trusted his thirteen year old son so much that he genuinely thought it best to leave him alone with this duty to defend his village and protect katara at all costs. he didn't leave a single man behind, not even the other teenage boys, because that's how much faith he had in a child to take his responsibilities seriously and perform them competently. and if that decision gave sokka one million different complexes and fucked him up for life, it wasn’t because he wasn’t valued for his abilities, it’s because he was overvalued and given too much responsibility at too young an age.

both he and katara struggled to live up to the expectations placed on them, forced to fulfill the roles of their parents instead of being allowed to exist as children. but crucially, katara sees the injustice in that, and clings to her childhood even as she strives for greatness, and sokka simply doesn't. he's long accepted that injustice, and in fact feels guilty that he cannot better live up to the impossible portrait of an idolized father, an idealized masculinity, an illusory model of the infallible, unshakeable warrior. despite all his achievements and natural giftedness, he nonetheless feels totally inadequate, deeply flawed, and ontologically worthless. perhaps, in a world beyond the pressures of war and its dehumanizing logic, sokka would have internalized the praise he was constantly receiving his whole life for his gifts. but since he was only ever a prodigy in ways that didn’t matter (within that colonized paradigm), he doesn’t actually care about how clever and brilliant and creative and talented and unique and special he is, because that would first require him to see himself as fully human, and he can’t even do that.

[itspileofgoodthings]

I have no proof of this but I think people’s least favorite Taylor album is often the one that came right after the one that made them a fan

[saints-who-never-existed]

Actually, no!

I know I'm just after saying in a previous post's tags that Little is an incredibly honest and genuine person, that he seldom, if ever, engages in any great act of concealment or artifice.

But I'm wrong!

I'm wrong and I'm forgetting his deep and profound anger!

Anger at his situation, at his lack of power and agency within that situation!

Anger at others, and anger at himself!

That deep, deep well of anger within him is huge and his concealment of it is, likewise. It's a Herculean act of self-suppression and, honestly, it's actually an incredibly successful one on the whole.

His anger is palpable to we the audience but he never seems to share it with anyone else.

We see it just begin to bubble to the surface in the last episode, perhaps, but unlike someone like Fitzjames whose artifice breaks as he reaches the end of vanity, there's no great schism for Little, no great release.

[dilfhos]

sooo this is gonna be a messy rant on the observations ive made between different writer communities, blog interactions and overall “status”. just silly little things I’ve noticed in my 4+ years being on tumblr btwn 2 diff blogs. and this is about no one specific, a very generalized post so if you find urself offended i honestly dont know what to tell you?? :o do better ig. & if you relate, i feel for you. TLDR @/end.

i dont like interacting/ building connections with people but not for the reasons ppl think. im not stuck up or pretentious or weird or anything. just another anime-enjoyer who loves to write in her free time. nobody special by a longshot!! i enjoy writing, always have since before i was a teen. (wasn’t always ff tho!).

but over the years ive just noticed fandom writing has its gritty sides that no one talks about often and its no mystery why so many prolific/ popular writers deactivated, me included. i had some shitty experiences and have seen friends go bc of it.

firstly, I’ve noticed, once you start interacting and building friendships with people, it’s easier to see the bigger perspective of where ppl stand and the blatant hierarchy of friendships and groups. same applies to that outside. like its literally just me n’ my bsf then my acquaintances bc mfs be weirddd omg its like cults or something. like thats why initially I didn’t interact w/anyone starting on my new blog. that n’ fear of drama following from my last blog ugh. ‘Cept the few i’ve met on my old blog (like my wifey)

not to mention i have bad anxiety. and sometimes im cue-deaf. i dont always pick up what people put down and vice versa and it makes me conscious in a lot of my interactions. so a part of me doesn’t want to interact at all to avoid all awkwardness and possible miscommunications. that’s not to say i don’t notice subtle changes in interactions after one situation / conversation or so forth, that in myself or witnessed between other ppl. (im perceptive, just not that good conversationalist lol. like i really have to try.)

but then…if you don’t interact with people on here, your chances of building an audience or a reader base is slim to none. the likelihood of developing relationships is zip. because you’re already perceived and pegged as just another tumblr writer. pause. to clarify, a writer who doesn’t want any recognition or interactions from mutuals or new friends. or just a lonely writer? a introverted, lonely writer. which leads to little to none interactions (anons, reblogs, moots —exposure.)

so then its like you’re kinda placed btwn a rock n a hard place. and there’s absolutely no problem with that! in fact this is the best part—meeting friends and like-minded people! people that make being online all the more worth it right? thirsting over fictional characters and sharing in each other’s works!

but you have to be in specific circles it seems. but then you can’t imply that you want to be in those circles bc then you’re desperate.

but well, then you cant purposefully want to be independent or be on your own or else you’re a hater, hypocrite or stuck up. not to mention, no one will reblog your stuff lol. no one will interact fr, and you’re friendless essentially. and god forbid if you disagree on something as if opinions don’t exist btw! then you’re being ganged up on. (like omg grow up!)

but then if you reach out you’re seen as trying to wedge in or kiss ass? you interact and follow and you’re ignored or left hanging? (bc im gonna touch your hand when i say this—it never gave fan, your majesty of horny nerds) and this is about ALL the writing communities and fandoms—spicy content, black content and dark content. ALL.

yet no one wants to talk about the pregnant elephant in the room—bias. and favoritism. also people seem to have a hard time being direct with how they’re feeling toward/about someone ( in a good or bad way) which in turn leads to a lot of miscommunication and subliminal attacks. (not to mention hate anons? one of my moots just had her inbox flooded w/them recently, ew.)

you can lead a horse to water AND you can write a 500-word essay on the observations made on tumblr writers as a whole. (a long ass post on the truth on behalf of those feeling this too)

also, slapping a HEY LOOK AT ME! IM A WRITER WHO WANTS INTERACTION AND FRIENDS! on a blog is frankly embarrassing. it shouldn’t even take all that seeing how easy it is for others wanting the same thing.

or doing less to achieve the same result.

not to mention, yall shit on ppl who essentially feel this way altogether bc you peg them as sb who doesn’t “try” or just jealous when their own works are phenomenally written themselves. ive seen it. and ive lived it. never gave jealousy baby.

at the end of the day, we’re all writers— either longterm or hobbyists. (personally, im longterm) self-indulgent or not! and its absolutely amazing when people are being fair in how they spread love and feedback to their writers.

Secondly, its not news that people have to want to reblog your fics so that their followers can reblog, so they can reblog, and their followers can reblog and so forth. but ppl honestly dont care atp bc once they’ve already read it, they owe you nothing. and apparently asking for reblogs is crass and bold. (imma do it anyway) but putting your very all into a story just to turn and see a half-thought out hc soaring 3k in 2hrs and 5k in a day — you have to stfu, open your ass and take it. keep it cute!

you’re getting fucked after all!!

because if you complain—you’re just jealous and lazy and uncreative!! and i hate that to seem like a writer worth a damn, you have to change up your writing style every two weeks to fit in with trending waves.

“no more poetic long fics, nobody’s into that! short, snappy slutty shots are all the rage!” “ppl are only into these specific tropes but you can’t exceed 2k words!” “only add trending characters to these hcs! ppl love them only!” “don’t write too much about a specific character or else ill unfollow you!” its exhausting.

i am well within my right as a literary artist to desire more feedback and interaction on anything i put out. period. and you are too! 🫵

God, im tired of that stupid, ‘you have to enjoy your writing for yourself and not worry about notes’ line. i do love my writing! don’t get me wrong there’s nobody id rather write like if not myself fr. not to mention the inspiration i draw from famous literary authors. however, i would love feedback and the same energy that i see with others in my same caliber.

and when i see others that didn’t even try fr—its a slap in the face to put it bluntly.

i can want silly little comments and notes about something i cherish and put out for that reason and yall aren’t gonna make me feel bad about it. sorry! like yall really be making people feel shitty for wanting the same type of interactions you get! especially when its harmless, bye asf. nb want to recipe to ur peach cobbler b!

the only one giving push back are those appointed popular /top blogs n’ cliques tho. now personally, i honestly dgaf if you have 20 followers or 25k, writing is writing and if its good you should want to support it regardless of following count/interaction right?

unfortunately, and quite unsurprisingly its not the case for the rest of this hellhole lol. there’s always gonna be some “big blog” in any part of tumblr or any social media for that matter.

but when the sole purpose being on a site like tumblr to write is mainly exposure, then it just makes it ten times worse especially if it seems that these blogs are steady at the top of every. single. tag. and listen, i know how initially stupid that sounds but when you’ve picked up on patterns for as long as i have, well iykyk.

so imma be real bc no one else will, half of the posts that yall see with 25k notes have alr been done. just different characters, different words, different dialogue. And 8/10 its been done by sb who only received 100 notes. Thats the evil part. whats more is that it lacks the creativity the one post with 100-300 notes is filled with completely.

POP QUIZ! what post would readers be more inclined to read? — one that says 10k (ohhh that must be popular!) or the one with only 150 (oh i guess nb really liked that one) that no one is even willing to reblog for MORE. and BOOM. now yall wonder why so many great writers LEAVE, its a fucking joke.

so unfortunately its no longer only about or only on readers anymore. its about who you know and who you know is willing to support your fr. who is willing to REBLOG your fics for their friends and followers, so that their friends and followers can reblog. to fit in you actually have to get in these days and it makes it all less enjoyable. makes it a chore and if you aren’t ‘doing it right’ ultimately it makes you feel shitty about your writing. (Please don’t, you are doing amazing. its the platform.)

it makes people not want to jump into writing. it pushes away those who actually want to join writing communities and meet people without feeling like they have to jump thru hoops to thrive or worse—live in other ppls shadows. and then it deters those from speaking up in fear of being shut down by bigger groups. ive seen it happen time and time again.

lastly, and this is the juiciest part! you absolutely cannot say anything about any of this bc you’re complaining and a fisher just looking for attention and not someone who just want things to be fair all over. play the game, right? ( wrong. and if this is your logic, you suck! )

its no longer about making flashy banners and pretty themes. its no longer about how many clever directory links you add or how many games you initiate on your blog or whether or not you’ve reblogged your fic three times already. its about your “friends”, other mutuals, and blogs willing to support you too. not just the audience. audience gonna do what they want regardless. reblog, don’t reblog, whatever. “at least ive read it right?” but everyone knows this. duh! but it’s obvious who doesn’t care as long as they’re on top of that tag! its admirable in a way but it sucks for those wanting to break out and build some kind of readerbase and/or make friends.

TLDR; people need to stop being bias and be fair and open lol. stop picking favorites and share the love all around. you see another person writing your favorite character or trope, give them a fucking chance and reblog, regardless if they’re in your ‘circle’ / radar or not. regardless if you know them or not. hell, let them put you on to a new fandom. bc writing is writing and making new moots and finding new fics seem to be what everyone loves to showcase until its time to actually do it. no wonder people get discouraged to make friends and write, yall treat it like some kind of secret society when its supposed to be fun💀 not a competition. (yall need to dead this clique-y shit. )

[ingravinoveritas]

iamjusthereforthecomments replied to your post "Can't stop noticing how red Michael's ears are...”

David's ears are equally red. I google it. It really is a sign of arousal, that or embarrassments, I choose arousal!

yourgothicredrose reblogged your post "Can't stop noticing how red Michael's ears are...”

Glad I'm not the only one that noticed the ears.

So much going on in this scene with Michael and David's body language, between the red ears and the dilated pupils...

There's been a lot of talk about acting choices and doing something for the character vs. the actor's own personal desire. But what I think keeps getting overlooked is that Michael himself said that everything from the last four years--everything that's happened with him and David since the first season, including enduring a global pandemic and being in Staged--plays into what we see on screen. It would seem beyond belief, then, that Michael could stand across from someone who generates as much emotion in him as David does and not feel as though he's reacting to David as much as Crowley.

And if that is the case--if real life is bleeding into the characters as much as Michael is saying it is--then it would make all the sense in the world for their bodies to react to each other. For those involuntary physical responses to be something that happens when Michael and David are around each other, that they bring out of each other, and not just when they are acting. I am just glad other people are seeing it, too...

[reneerappisms]

casually following the fic writers whose fics I read religiously when I accidentally discover them on tumblr,,, idfk how to socialize but I can pretend I might make friends

[ruby-red-inky-blue]

a couple of years back i was pretty vocal about not getting when people complained about their art not getting "enough" notes. but i'm getting to recognise a sub-category of that frustration these days that, in fairness, was maybe what people were talking about all along? but i've also seen other posts mention how fandom spaces feel changed since the last few years, so maybe it's a new thing or at least a thing that hadn't reached my fandom corner until now.

i truly don't mind if my writing doesn't garner a lot of attention (although i say this from a place of priviledge where my writing has so far always garnered some attention, and often a lot more than i anticipated). but what is really starting to grate a little is the amount of attention vs. the amount of reaction. For example, before the latest update on my big multichapter fic, it sat at ~ 33,050 hits. since then the fic has been clicked 400 times. the kudos count went up by maybe three and there were three new bookmarks - this isn't super surprising because i don't expect to be reaching a lot of new people with an unfinished 100+k word fic in a dwindling fandom, and if they're return readers they can't leave new kudos. but five people have commented on the fic since the update. One percent of readers who have clicked on this fic have reacted. Did all these people see it on the recently updated feed, started to read it, didn't vibe with it and moved on? That honestly wouldn't bother me. But it's been steadily gaining attention for the last few weeks, long after it moved off the first page of the recently updated view for the fandom. so rather, I think it's mostly subscribed users (the fic has a little over 400 active subscriptions so that would make sense) or people actively checking back on the fic. in which case they must be at least somewhat invested in it.

and again, i'm not owed any feedback. i put my work out for free and people decide what to do with that. but fandom is a collaborative space, and it's been feeling like less that for a while. people seem less ready for conversation, and i think that's sad, and quite demoralising for creatives (at least for me personally). fandom work isn't meant as bingeable content that you consume and then leave. if you do that on netflix, that's fine, because you're paying the platform and they're at least supposed to recompense the creatives who made the show you just watched. fandom artists don't get that. we make things for the love of it, and because we wanted to share that love. it doesn't feel like sharing though when you put something out there and nothing comes back. it feels like standing in an empty warehouse telling my stories to nobody. and, again, i'm personally lucky enough that it's not like that all the time, but i get why people stop doing it. and i get that engaging with art as an audience member doesn't come easy to everyone, but fandom culture needs it. it's supposed to be an exchange. it's supposed to go both ways, and i think if you want to sustain the culture, you simply need to try and give something back, whatever that is.

because putting something you made out there and nobody looks at it is definitely not a great feeling, but having anonymous masses file by and look at your thing and then meet you with deafening silence feels... worse.