#my interpretation

[loveyourownsmiilee]

For anyone who missed this Ryan interview (x)

[destiel-wings]

Dean Winchester & hug dynamic analysis

I was thinking about how whenever Dean hugs someone he's almost always the one hugging the other and how this links to his psychological trauma of always being the caretaker of people, making himself bigger to protect them.

Because that's how Dean sees himself, as a shield for others, and then I thought about how Cas actually is the shield, and he's HIS SHIELD, specifically, the only one who's really there to protect HIM, which is why it hits so much when we see this:

The way Cas wraps his arms around him, trying to protect him with his whole body--that he'd use as a shield and give up in a second if he could spare him from any pain and save him.

(for context: Dean was about to go use the soul bomb on Amara there, it was a suicide mission)

Bobby is another one that hits, he hugs him as the big hugger because he's his father, he loves him and he's actually here to protect him (and Dean LETS him -barely, but he lets him *and Cas* - in a way that he doesn't let Sam)

I watched a compilation of Sam & Dean hugs to check if i was right about it, but it's almost always Dean the big hugger with Sam, except when he's about to die or Sam sees him alive again after losing him.

Even then, Dean mostly tries to hug Sam as the big hugger anyway, with at least one arm, like a way to comfort him, making him feel protected, like his body language is saying "I'm here, I'm okay, I'm still strong, i can still protect you" (because their real father failed and Dean thinks it's his job).

He rarely lets himself be the little one hugged with Sam, unless he's barely conscious. Which is why it kills me so much more now that in this moment (s14, when Dean was going to lock himself in the Ma'lak box cause he was possessed by Michael) and Sam has a desperate breakdown and punches him (to stop him) he forcefully hugs him as the little hugger, the way Dean always kept him, like a way of saying "I still need you to protect me, please don't do this to yourself".

In the scene below he gives Sam his blessing to do a dangerous (possibly suicidal) mission, and one of his arms is down, but the other one tries to stay up--he's forcing himself to do it and he struggles because he still wants to protect him, but (as the seasons progress) he slowly becomes more prone to let go.

So in this view the hug dynamic becomes an indicator of how Dean sees Sam (and himself) and his protector role, how adult and self sufficient he considers Sam, and how much he lets people around him take care of him, lowering his walls and letting himself be hugged.

This is also why i think hugs from characters like Garth or Charlie are so special, because they're just like us: they see Dean and they just know that he needs to be hugged a lot, and that he's not used to it, so they just go for it-- and it's so normal and kind and spontaneous that Dean's just not used to it-- he doesn't know how to respond (especially with Garth, at the beginning, but as the seasons progress, he learns to, and he even initiates the hug eventually).

I love the hugs where they're 50/50 (one arm up, one arm down both), feels like they're equals, both taking care of each other. I feel like with Sam and Dean, this indicates a healthier dynamic, because Dean lets go a little of the role that was imposed to him and manages to see Sam as the strong individual that he is. But the same applies to 50/50 hugs with other characters, like with Cas, where I feel like it testifies how equals they feel in terms of being fighters, there's a show of respect of each other's strength that transpires by the gesture (which is even more astounding considering that Cas is literally a powerful angel).

And just to end on a destiel note, I'd like to note the possessiveness and protectiveness of Dean (rightfully so) whenever he finds Cas after he thought he had lost him, and how that translates into his body/hug language:

[lmae98]

Parallels DMC3 - DMC5

The first four pictures are about Vergil pushing Dante away. In DMC3 he even threatens Dante with Yamato, but in DMC5 he doesn't try that hard, he just gives his brother one last chance to turn back. In DMC3 Dante is kind of processing everything (this is how I see his silence) and doesn't get the chance to say something; in DMC5, instead, he had enought time to think (like two decades) and he's 100% sure of what he wants to amend. Since DMC3 we can see the instant regret in Dante's face the moment Vergil falls. In my point of view, Dante does in DMC5 what he feels he should have done in DMC3: Stay by his brother's side.

The next two are about Nero taking Dante's place. Is now Nero who helplessly watches how the family he's just found (and the remaining one), leaves. His fear it's similar to Dante's (in DMC3), he doesn't know if he'll see them again but, unlike Dante (who thinks that Vergil is aproaching to a certain death), he knows for sure that they'll be alright. I believe that Dante's last words to Nero were of comfort, that he somehow kept in mind when he was in Nero's place and wanted to free the boy from the same thing he felt. I believe that Vergil had that in mind too when he promises his return to Nero (in his own special/weird way).

The next two are about the selfless/violent sacrifice. In DMC3 Vergil's attitude (cutting Dante's hand with Yamato) is not just about pushing Dante away, but a way to free his brother from him, to letting him move on and have a life too (that's my interpretation, not a fact btw, like almost everything in this post). It's the same when Nero is punched/knocked back because, in theory, he can go with them too and I don't think the world is gonna end for that, but they know (especially Dante) he has a life and bounds that ties him to the human world. That punch is about making it easy for Nero to let them go.

The last two pictures don't need much explanation. It's again about Dante doing what he thinks he should have done. He regrets letting Vergil go alone to the Underworld, so this time is him the first one to jump and making sure Vergil doesn't run off on his own this time. After all, they're meant to be together; in Visions of V it's reaffirmed. Both brothers stop fighting against it.

I probably didn't say everything I had planned, but this is a good summary. Sorry if there are mistakes, I wrote this from my cell phone and it seems that my autocorrect has a mind of its own.

[skkortysoup]

lol lmao

[altf4d3lete]

Y’all I’m tired of pretending the show wasnt meant to revolve around Enid and Wednesday from the very beginning.

I see you, Danny Elfman

[kennico]

I should draw them more

[iceemoondemon]

"WELCOME TO THE AMAZING DIGITAL CIRCUS!!!"

The bun and the ragdoll :3

We got Jax n Ragz.

Jax has to be muh favorite right now, i love his design!

🎡🎪🎈🎢

NO VHS EFFECT

[that-guy-in-the-chiton]

Enough with that “Hades and Persephone forbidden romance UwU” BS, how about a story about a mother that goes all John Wick in order to get her kidnapped daughter back, a la Luc Besson’s Taken.

[lostinsaltburn]

Oliver & Farleigh Analysis

These two are so interesting to me. From the beginning I think Farleigh was intrigued by him. In the office with the Professor, it was like a little dance, who would take the lead. Farleigh obviously knew the way the world of Oxford worked - the way the world of money worked. Oliver it feels in this scene was genuinely displaced when he realized that his work ethic, his intellect didn't matter here. The little dance between them, each taking a step forward, sizing each other up. Farleigh was intrigued by the confidence Oliver had; someone yet to be broken and disappointed that even at a fine establishment of higher learning, intelligence didn't mean much, status and money like everywhere else was what mattered. Farleigh knew better how to wear that mask, how to merge into that crowd even though it feels like he is also wearing a mask, feeling like he's playing a character, like he's an imposter in that world but doesn't know how to be different or even if he wants to be.

As they spend more time together through Felix, Oliver suspects that maybe Farleigh sees the glimmer of similarity between them, the mirror between them that shows their identical intentions. That's why Oliver plays it the way he does with Farleigh, smart enough not to just cast him aside because he understands his opinions hold weight to the Catton's.

To me the sex scene between them is for sure a means to an end for Oliver, to get rid of a annoyance, a spanner in the works. But I also think it was done in an unconscious way to further assert his dominance. Like Farleigh and him are toe to toe the entire film. Always taking jabs at each other, always trying to win the metaphorical game that only they knew was being played. So I feel like the sex, yes the dominance during but also the simple fact that for all the hatred and straight dismissal that Farleigh has cast toward Oliver, still his resolves falls when it comes to sex. All convictions out the window, this disgust he's shown toward Oliver the entire film just doesn't mean anything when the chance to have an orgasm comes into play.

It's like a last fuck you to Farleigh, a real big middle finger, I WON THE GAME, because even if you find out what I did with the email, you still let your guard down, you let me win just to get your dick wet. HOW EMBARRASING. Strong willed, bitchy, better then all Farleigh lost a game to weird little stray Oliver because of SEX.

When Farleigh turns back up I think it's a damn surprise for Oliver and again another reminder that for all he think's he knows about this world he wants to be part of, he still knows so little. It's like an unspoken, you won round #1 but you won't win the game.

[pakouou-arts]

Bro came back~

I thought I drop this here. I post this on my IG page (@pakououo) a long while ago. (I'm mostly active and share my other works on IG if you wanna see more. <3)

[titaniium999]

imagine being always seen as a derivative of someone else rather than vice versa. imagine being programmed to destroy the person you were designed after, programmed to see yourself as the better one of the two, yet you can never defeat the 'inferior' one. you're supposed to be the better one, yet you can never live up to that. you're supposed to be his greatest creation, yet you constantly fail him. you're given a powerful intelligence and even the ability to feel some emotions, yet you're treated like an object and only wanted when you can do something productive and relied on because you're a robot, a machine, you're supposed to be perfect, infallible, you're supposed to do this, do that, and if you make one tiny mistake, if you fail, if you're wrong, if you rebel, show independence, something is horribly wrong with you because machines aren't supposed to be like that and you need to be reprogrammed. you'll never get to be a person. not even close. and you know it. you can't even get infected with the metal virus like the rest of them. you'll never get to be who you wish you were.

[gummmy]

How I imaged Erin. She has bark tattooed over her skin and her hair is the color of autumn leaves.

[jewelofgems]

Adamsapple kids/Siblings and Cain’s design (My Black Ball Au)

(Fun fact: That little pentagram is a portal/subspace)

Read My Au Here:

[blayeart]

more Adam sketches <3

All socials: https://linktr.ee/Blaye

[destiel-wings]

I was reading this thread on twitter and it made me think about how Sam humanizes the monsters and sees more in shades of grey, whereas Dean, especially in the early seasons, has more of a soldier mentality, which is John's. He can't afford to see grey as Sam does, he was taught that monster = bad, and that needs to be true to justify the horror of "killing things". He can't consider the possibility that mosnters might be victims or might be anything other than bad, because otherwise his whole beliefs system would crumble. And what they did (killing them) would be wrong. And (maybe even) worse, JOHN would be wrong. BAD even, for teaching their kids to do so.

So i think it's even more interesting that the one who does see the world in shades of grey is Sam, the rebellious child, and the black sheep of the family. The one with demon blood, who embodies the key (for Dean too) to understand that monsters aren't always evil, and morality isn't always black and white, which is something that s2 starts to delve into, with John leaving Dean the burden to kill Sam if it becomes necessary.

Dean's choice at the end of the season is the stark opposite, not only does he save him instead of killing him, he trades his own life, paying with an eternity in hell, just to bring him back.

And this marks a big point for Dean in terms of understanding morality and making up his own choices on what HE believes is right and wrong, despite what John taught him. He starts making his own choices, seeing the world in more shades of grey, and following his own heart.

[sparrow-writes-draws]

Full body drawing of what I think will treaty looks like :)), he’s so pathetic wet rat coded I love him <3 (Fr tho bro can never catch a break in the books 💀)