#my drafts are a wall of you

[untitled-tmnt-blog]

I absolutely HAD to draw something for @phoebepheebsphibs's DTIYS (based on this pose)! I decided to mix things up a bit by experimenting with a more limited color palette, which was a pretty fun challenge.

[your-local-uwu-artist]

I have lost many sleep and shed many tears over reading beast wirt fanfics

[wilsonsmcgillsweatshirt]

In my opinion

There is no denying that House loves Cuddy. It's obvious, everybody knows it, there's no debate. Cuddy also loves House, again, obvious, no debate. But the way that Cuddy loves House is not the same as the way that Wilson does.

Cuddy acknowledges Houses issues, and she loves him in spite of them. She sees the worst parts of him, the "undesirable" parts of House, and she chooses to look beyond them. She sees the man that he is aside from those things, and she makes the conscious choice to coexist with those parts of him in exchange for being together with the parts that she loves. An example would be House's jealousy. She acknowledges that he can be extremely jealous, and she agrees to look past it because he's also very loving and protective. That's why when House continues to make mistakes, she becomes more and more disappointed. Because she sees a man who she believes could do better, falling back into his "old ways." She will try to convince herself that it's not a surprise when he does "bad" things, and she tries to convince herself that she doesn't need him to change, but the truth is that she does. Cuddy is a mother. She is a very mature, professional woman, and she wants to settle down. House, as he exists in the show, would not be able to live up to par with those expectations. I'm not saying he couldn't be a great dad to Rachel, or that he wouldn't love Cuddy, but he would realistically would not be able to act the way she needs and deserves for the rest of their lives. And when he does inevitably do something destructive, she will struggle to deal with it. Because she sees House as someone split down two sides, the "good" side, and the "bad" side, and she will expect him to focus on the "good" side, so when House does something wrong, it will feel like a personal attack, because she will see it as him not fighting hard enough to not give in to his "bad" side for her. And that's not to say anything bad about Cuddy, because the fact that she needs somebody who is the type of person that House just can not realistically be is neither of their faults. But I believe that House fully understands all of this. He is crumbling under the pressure of living up to Cuddy's expectations. He is constantly trying to fight his "bad" side so that he can be what she needs. But in reality, he is not two separate parts. There is no "good" and "bad" House. They are one in the same. With her, he has to fight to be what she needs. He has to fight to change. So when stressful things happen, his fight or flight response kicks in, and he runs. Because he's scared. He's scared that he is going to do something that will disappoint her. He is scared he won't live up to her expectations. With Cuddy, he has to sacrifice parts of himself to attempt to be who she needs. And it's just not sustainable. You can't live like that forever. All the good becomes overshadowed by constant anxiety and stress. It leads to House's mental health plummeting because he starts to hate himself for not being able to get rid of that "bad side." And so when Cuddy needs him during stressful times, he can't bring himself to be there for her fully, because he is so focused on the "good" side of him coming out, that he starts to lose himself.

With Wilson, however, it is basically the exact opposite. Wilson doesn't see two different sides of House. He sees one person who is incredibly multifaceted. He recognizes those "undesirable" parts of House, and he loves them just the same as he loves the "good" parts. Because he sees no divide. When House does things that are hurtful, he still calls him out, but he doesn't see it as a personal failure. He sees it as just a part of House. Like yeah, he'll insult your fatal illness, but he'll shoot some random guy with a spud gun for insulting you. Where as Cuddy would see those as two separate, distinct sides, Wilson sees those as a conjoined whole. He doesn't love House in spite of his issues. He loves House because of his issues. Because House's struggles are a part of what makes House who he is. So Wilson can fight with him and be mad at him and hurt him, but he doesn't expect House to throw away or "overcome" parts of himself. He would love for House to give up drugs, but he doesn't expect House to give up his addictive tendencies. There's a balance, and it's all an equal part of House. And so because of this, when House and Wilson are put in stressful situations, House doesn't feel like he has to run. He feels safe. Because he knows even if he says something wrong, and even if he upsets Wilson, Wilson is not going to leave him. Wilson does not have these high expectations for him that he feels like he is being forced to fill. And so he can focus on genuinely being in the moment and being there for Wilson because he is not fighting with himself, and he is not scared. He has trust in Wilson and enough trust in their relationship to know that they will work things out. I think the fact that they have very similar issues also helps a lot. He can be mean to Wilson and lash out, and Wilson will recognize that House is doing that because he is scared and because he loves him. In return, Wilson can also insult House and make fun of him because he's just as destructive. They meet each other on the same level because they are equals. House does not feel like Cuddy's equal. He feels like she is better than him, and he can't be himself with her. Him and Wilson know each other as well as they know themselves, and they're not constantly making the other feel like there are high expectations they have to fight to reach in order to love each other or be "worthy" of each other. They're just House and Wilson.

But I have no idea what I'm talking about, so take this with a grain of salt.

[uwuwha]

And oh, I wish I could hold you in my arms || but lately my body has been so afraid

A comic for @cometquest's blocktales apocalypse au! Can be interpreted either romantic or platonic. I kind of made my own story here, but you should definitely go check the au out!! His character designs are sick as hell and I've been a bit insane about them lately 🙏🙏!

Text reads: And if I knew you a little less, and my soul held a little less pride, I'd ask for you to stay safe by my side. But in my heart, I have long known what your answer would be.

Some extras below the readmore! Fair warning it's quite long

The comic without leetspeak!

In honour of the most recent lore post

Banner says: and me I feel also not so good Griefer's saying: Dude this yogurt fucking sucks

And my original tags condensed into incomprehensible paragraphs because there was not enough space to fit all of them underneath. Dear lord.

Genuinely I keep thinking about them oh my lord. The way in a normal world they would have never met. Wouldn't have even known eachother existed except in passing and rumors. Yet in this world where everything is falling apart Griefer and Jim are the only lifelines in their towns, do they meet even if its in voicechat. The only way Roadtown can talk to Turitopulis. And if Red lives in somewhere other than Roadtown or Blackrock, then Jim is quite literally the only way Brad can get updates on his father.

So they start talking and planning and communicating. And they communicate and they learn about eachother and they start talking more than strictly necessary and days or months or maybe years later, Griefer suddenly realizes that he's looking forward to his next conversation with Jim. He likes talking to him. He finds comfort with him. He cares a lot for Jim. A lot. Like a bird trying to rip out of his chest. Over the voice on his headphones who hes never seen before.

And if he knew Jim a little less well. If he maybe he were willing to beg a little more. He might've asked Jim to go and live in blackrock like his dad, or even go to Turitopulis to stay with him. But he knows who Jim is, and he knows who he is, and if someone had ever asked him to leave Turitopulis he would've socked them in the face. And even though he's calmer and more mellower than him, Griefer knows Jim would never think about leaving Roadtown for it to defend itself. And nobodys really manning the planes except for Jerry nowdays. So he never bothers asking.

But like a riving pounding against stone, the voices know they can't last forever and one day, maybe the voices finally got to him or maybe it was an act of self sacrifice, but Jim blows himself up. And all of the sudden Brad is left with headphones that emit static, no contact to Roadtown, and a sinking pit in his stomach. Do you see my vision here. Gripping myself.

[inkdemonapologist]

My BatDR Take That Used To Be Hot But I Left It Out On The Windowsill To Cool So You Should Be Able to Eat It Now Without Burning Your Tongue

its not actually that hot, is what im saying

Anyway my BatDR hot take is that BatDR's story is not fundamentally worse than BatIM with one exception; an exception that, for BatIM, covers a multitude of sins:

BatIM has a theme.

I can't presume the intentions of the creators, but if I had to write an essay on the themes in BatIM, it wouldn't be hard to pick one out: the cost of obsession, or even just, the ruin Joey brought on the studio. In the very first chapter, Henry asks "Joey, what were you doing?" and every single thing in the rest of the game revolves around that central question: what WAS Joey doing? Each audiolog is a snippet of the studio's path to this messed up state; each character you meet is someone ruined by Joey. The major antagonists echo Joey's flaws -- obsession with Bendy as more than a cartoon, obsession with perfection, obsession with fame and greatness and legacy -- but even without that, they're also each a picture of how the lives of people caught in the path of Joey's dream were ruined by it. Bertrum, for example, doesn't match the concept of rubberhose cartoons, but as yet another person screwed over by Joey, he fits the central question of the story, so he feels like he belongs here. Ultimately, in a narrative sense, the Ink Demon isn't the story's monster -- Joey is; the Ink Demon is just the consequence of his reckless ambition.

But what's the theme or central question of BatDR?

You can... try to pick out a theme. There's some promising options, because it feels like the story WANTED a theme, stating its emotional intentions more overtly -- "there's always a choice" to leave the darkness and chose hope; family and the struggle of living in a heavy legacy's shadow; or even just good old mewtwo-brand The Circumstance's Of One's Birth Are Irrelevant, It Is What You Do With The Gift Of Life That Determines Who You Are.

I think, even WITH the clumsy execution of Joey's "arc" and Audrey's lack of real choices, any of those could work about as well as BatIM. But unlike BatIM, the majority of the game doesn't tie in. Joey's tour can be considered relevant -- a picture of the family legacy and the "darkness" that Audrey doesn't yet know she's inheriting -- but like, the audiologs and hints and environment of BatDR are mostly teasing the question of What Is Gent Up To, and the takeover of Gent is detached from Audrey's choices, her family, her legacy, and Gent never really becomes a relevant threat to those things in this game. The Cult of Amok and the Ghost Train have nothing to do with any of these ideas. It might've been neat if Audrey had ever considered, "Did my father really drive all these people insane?", a hint of actually having to wonder about the darkness in her past. Even Wilson only barely brushes against these concepts; he doesn't like Joey and he also is trying to escape his family's heavy legacy, but it doesn't really reflect on his actions and we don't find that last part out until he's about to be dead.

There's also the question Wilson poses of "real" people versus ink creations, and what counts as valid "life." It would be an interesting theme with a lot to build off of in this setting, it ties into Wilson more as Wilson seems to represent the opinion that Inky Things Aren't Really Alive, which could've tied to Audrey (as an ink-person who has yet to accept that part of herself) and maybe given Wilson a reason to think it's fine to sacrifice her, it could've even tied to Gent (who don't even seem to value human life) -- but after Wilson asks the question, it doesn't tie into the direction things go. He smooshes a little Bendy, we see hints of his disregard for Betty, and then everyone continues with their plan to destroy the Ink Demon without any further moral quandaries about inky life.

The thing is, when you compare an element like, say, audiologs, there's a lot of differences you can point to -- but I don't actually think Lacie Benton's audiolog is notably better, taken on its own, than Grace Conway's or Kitty Thompson's, and yet tons of people were intrigued enough to flesh out Lacie. None of them are big plot points or compelling characters on their own; Lacie and Grace both give us a little note on what it's like working in the Studio, and Kitty shares a little bit on how Gent's expansion is affecting people. But when Lacie talks about Bertrum trying to make a creepy animatronic, that ties back into Joey's ill-fated schemes that are the point of the whole story. The question we're asking through the whole game is "what happened here?" so the fandom is interested in who Lacie is and what her life was like and extrapolates a whole person out of a couple sentences. But that's not the question in BatDR -- what has Wilson done to the Cycle and the Demon? Why? Who is Audrey really, and why is she here? Telling us new things about the Studio's fate seems strangely irrelevant to those questions, just an attempt to create a Mystery To Speculate On like the previous game did... but what question you're asking and how it fits into your story's main theme, like, matters. I absolutely believe that one clock animator guy would've been in EVERYONE'S crew if he'd been introduced in BatIM, but the context makes a difference; fleshing him out feels less relevant here.

The explanations of how and why Wilson did everything he did are baffling and handwavey, but in and of itself that's not a worse problem than anything else in the franchise -- I STILL don't understand why the Ink Machine needs pipes in the walls or even how it works, there's no good reason for Sammy to believe the Ink Demon will "set him free," most of Alice's motives don't make sense, etc etc etc. But the thing is that in BatDR, the wibbly bit is the closest thing to a central question we have! Wilson, what were you doing? The theme doesn't really explore or connect to that question, so the explanations that are finally tossed our way feel lacking in a way that BatIM's handwaved elements don't. There's a lot about Joey's motivation in BatIM that we can't know, but the heart of it resonates -- Joey wanted something, he was willing to exploit people to get it, and he became obsessed and prioritised that dream at any cost. We'll weather a thousand logistical inconsistencies if it's got heart.

But all of that said.... to be honest, I don't think Lacie overtly fits that theme anyway. Even, like, Sammy is iffy -- we don't really know what happened to him, only that he didn't used to be made of ink and worship Bendy, and now he does. We assume Joey's nonsense had something to do with what happened to him (though the books later assert his influence was indirect at best), because when there's a pattern, we can fill in the blank. So many fan creators found a place for Lacie, Grant, and Shawn in the cycle as butcher clones or lost ones, so many people imagined that Wally must be the Boris we meet, because that would've fit the pattern, the idea that the point of what we're seeing is the downfall of the studio. It's not actually that BatIM did a great job tying everything together -- it's that BatIM gave us a compelling idea and that was all it took to make everything else SEEM like it could find a place to fit. This is what I mean when I say BatIM's theme covers a multitude of sins. There's a LOT of characters in BatIM that don't make sense. There's a lot of inconsistencies and things that just sort of happen without any real reason. Characters don't really have "arcs" so much as different states they happen to be in at different times. But because there's a central question and the story doesn't wander away from it, our pattern-loving human brains will slot in all the pieces and do all the work to make the story feel at least somewhat coherent.

The things that happened in BatDR aren't a whole lot less coherent than BatIM imo, they just don't tie into a bigger theme or any of the questions the story's asking, making "how do they fit into all this" feel irrelevant, making it easier to forget entire sections and harder to get invested in audiolog characters. I think a lot of the other criticisms people have for BatDR's story are very valid, but I also suspect that if BatDR had a more successful theme/central question, then a lot of its flaws would be easier to overlook -- just like BatIM.

[spacedlexi]

maybe if i just put these screenshots together youll understand why i think their relationship just Works so well as it pertains to the characters and themes of S4 in general

neither of them know what theyre doing, but theyre figuring it out Together. the old ways are dead. and together theyll build a new future thats worth fighting for

[governmentmandatedryujinstan420]

releasing this from the hj discord dungeon because the public populace was in agreement also i'm chronically offline on tumblr and need to fix that for my chronically online ahh

[paragal]

Your eyes are a thousand times deeper than the sky, and I am a tiny star falling for all time

[picklesinabottle]

do you think michael taught adam languages the human way. do you think adam tried to explain what his favorite foods tasted like. do you think michael told adam about the creation of the universe and adam told michael about like. his favorite tv shows and the stuff he was learning in school and what it actually felt like to be loved by your parent

[skitskatdacat63]

"The Boy With The Thorn in His Side"(x) - The Smiths × 2023 Strollonso moments + pundits' reactions

[hephaestuscrew]

I do think there's something special about the way that audio drama creators seem to love including cameos of voice actors from other popular audio dramas. Obviously, part of the reason why actors from one show might pop up in another is because the audio drama creator community is relatively small and interconnected, and also because those actors are very talented.

But there's also often such a sense that creators are having fun with these cameos. Like Greater Boston casting audio drama heavyweights Briggon Snow, Zach Valenti, and Felix Trench as famous film actors Matt Daemon, Ben Affleck, and Mark Wahlberg respectively. Or Faux and Stallion having Tom Crowley (who plays a Victorian detective in Victoriocity) pop up as Dr Watson. Or Unseen casting Beth Eyre and Felix Trench as characters who are twins. Or Arden getting Emma Sherr-Ziarko to play an actor impersonating a character played by her former Wolf 359 costar Michelle Agresti (with Michaela Swee also appearing as an actor impersonating the other main Arden lead).

In these cases, it's not just that there's a cameo, but that the cameo is given particular (often comedic) significance to those who are aware of the featured actor's other work. The vast majority of people wouldn't recognise any of these voices. But by doing these very intentional cameos, these creators show confidence that a fair chunk of their audience will know these actors and enjoy the link. There's an awareness that listeners of one audio drama are fairly likely to listen to (or at least be aware of) other fiction podcasts, even when the shows in question aren't of particularly similar genres. Recognising these cameos feels like being in on a secret. It feels like these shows are giving a little nod to listeners to say that we're part of the same club.

[sunlians]

ratio'd with the best piece of music in dai

[ic33claw]

Pinescone seems to be back in style so here’s another shameless art dump of my fanfic!

Made These while in bootcamp because my brain thinks it’s a smart idea to get a hyperfixation while i can’t have any access to the internet.

Valentine’s Day thing

This is actually a rather nice find! This was the very first artwork I made for the fic back in early 2019. Back then the fic was called stars

[my-rose-tinted-glasses]

Marahuyo Project Episode 4

[downtherabbitholewithlucy]

Limp Bizkit featured in Crossbeat & RPM (Rock & Pops) Japanese Magazines (2000)

[funky-dealer]

the ground trembles with every step quasar takes. this is because while her exterior is fleshy, its purpose is to encase her solid titanium insides: