#no clear visual hierarchy

[sinkat-arts]

Can someone please inform this webbed site that the people who want to see the live action One Piece already know about it, and there's no reason my entire screen should just be... One Piece (+ the eyesore that is Tumblr Live).

Also do not need the special character tab, thank you.

The UX designer in me has been losing their mind for the past several weeks here, and this is not helping, haaaa.

[er1nne]

let him speak

summary: it’s just another chaotic shift in the pitt—until carter tries to speak up during a trauma case and gets talked over, again. you weren’t planning to say anything, but watching him get shut down one too many times pushes you past your limit

warnings : none just standard fluff, a bit of cursing nothing crazy though

word count : 1.2k

author's note : watching ER for the first time & I hate how life + everyone treats Carter for the first season or too, as though life hasn't been harsh enough already. he just needs someone to step in for him :( also, the medical terms and prognosis might be wrong, sorry not in medical school. but you're not here for that anyways

(do not copy or plagiarize, original work)

The trauma room is full. Too full, but honestly, what's new.

It’s the kind of full that doesn’t just crowd bodies—it suffocates focus. Every inch of space is taken. Nurses are shoulder to shoulder, interns squeezed between trays and carts, and the air is thick—humid with breath, sweat, and the stench of blood and antiseptic clashing in the fluorescent light.

The monitors are screaming now, not beeping. The pitch spikes, falls, screams again. No one’s silencing them. Gloves snap onto hands that are already damp with adrenaline, wrists slick, hearts pounding. Every voice is raised, not out of panic—but because no one can hear over the storm.

On the center table lies a man in his early forties—barely conscious, drifting in and out. There’s a fresh, angry scar running down his sternum, ribs mottled in bruising so deep it looks like ink. His gown’s been cut away, exposing a chest that’s rising unevenly. Shallow breaths hitch in his throat. The left side of his body barely moves.

A cold sweat glistens across his forehead. His fingers twitch against the sheets. His blood pressure’s free-falling, oxygen saturation dipping below seventy, and no one’s really processing it. They’re just reacting. Fast. Frantic. No rhythm. No hierarchy. Just noise.

You press gauze to the open wound across his ribs, trying to clear the visual field. Benton storms in next—gloves already on, eyes scanning the room like it’s not moving fast enough. “He’s circling the drain,” he says sharply. “I want a central line, chest tubes prepped, and someone get me a damn ultrasound.”

At the crash cart, two interns are fumbling through drawers, knocking saline vials loose, whispering to each other like they’re afraid to be wrong out loud. Chaos in white coats.

And at the foot of the bed—

Carter.

At the foot of the bed, Carter stands stiffly with the chart tucked under his arm, brows furrowed as his eyes scan the vitals again. The patient’s breathing is shallow, asymmetric. Something’s off. He shifts his weight like he’s about to speak.

He sees it. The pattern on the monitor. The bruising. The shallow breathing that doesn’t match the chest rise. Something’s off. Something subtle but important. He doesn’t look lost. He looks like he sees something no one else is looking for. But he hesitates.

“I think we should—” he starts, voice quiet, uncertain but grounded.

Benton cuts across him immediately. “Push another liter. I want that central line started now. Somebody get surgery prepped. He’s crashing.”

Carter takes a breath, tries again. “I think there’s—”

Carter starts to speak—again—and that’s when your head snaps up.

Because you’ve been watching. From the moment the chaos started, you’ve seen how his words keep getting swallowed whole. He’s not guessing. He’s reading the room. The chart. The patient.

“Get an ultrasound in here,” Doug barks, flipping through the chart. “We need to confirm pulmonary collapse before we put in a chest tube.”

Carter frowns. “But I think it might be—”

You’re across from him, inserting a second line. You glance up at the hesitancy in his voice, the way his shoulders hunch just slightly after each interruption. You catch the way he looks at the screen—like he sees something no one else does.

Your voice cuts in—not harsh, just clear. “Let him finish.”

No one hears you. Or maybe they do, but they don’t care.

Doug’s already turned to an intern. “Go ahead and prep bilateral chest tubes. He’s spiraling.”

“Wait—” Carter steps forward. “If we decompress without checking for tamponade—”

“I said move!” Benton snaps to the team, ignoring both of you now. “Pressure’s dropping—he’s circling the drain!”

You raise your voice slightly. “Guys, just hold up—”

Nothing. Not even a glance.

Carter’s jaw is tight now. His voice lowers, meant just for you. “They’re about to decompress the only lung still compensating.”

You watch him for a second. He’s right. You know he’s right. And they’re still talking over him like he’s not even in the damn room.

You try one more time, sharper now. “Would anyone like to listen to the guy who actually read the chart?”

Benton doesn’t even look up. They keep moving.

“Will someone move?” Benton snaps. “He’s crashing.”

And your hands go still at the IV. You stare at the patient. At Carter. Then back at the room full of men playing hero. Your jaw clenches. Because you’re one second away from ending all of this noise yourself.

“Shut up!”

It tears out of your throat—louder, sharper, and more final than anything else that’s been said all shift. It doesn’t rise above the chaos—it ends it.

The room freezes.

The clatter of the crash cart halts. Gloves pause mid-pull. Even the beeping monitors feel like they retreat, dropping to the background as every head slowly turns. Your boots scuff against the tile as you round the foot of the bed. You don’t yell again. You don’t need to. The fire’s already burning. You cut your gaze across the room—past Doug Ross, who raises his brows but wisely says nothing. Past the pair of interns who now look like they want to melt into the floor. And finally, you land on Benton. Cold. Direct. Daring him to shut you down.

“Would one of you self-important geniuses give him a damn chance to speak? He's here to learn, not stand around like a coat hanger.”

Silence. Dense. No one breathes.

Carter looks like someone just physically removed the pressure from his chest. His eyes are wide—surprised, but underneath that, something else: stunned gratitude and disbelief. Like he’s not used to anyone stepping in, let alone someone like you. He didn't even think you noticed him the way everyone around him is acting like he isn't even here.

He doesn’t speak at first. No one does.

You hold Benton’s stare for another beat. Then, without turning away, you tilt your head slightly in Carter’s direction.

Your voice is steady, clipped, controlled. “Proceed, Dr. Carter.”

That formality isn’t lost on anyone in the room.

He swallows, nods once, then takes a step forward, straightening the chart in his hands like it’s suddenly worth holding again. His voice isn’t loud—but it’s clear now. Confident. Present.

“There’s fluid in the pericardial sac,” he says. “If we decompress the chest now, we risk collapsing the only functioning lung. The right side is already gone—we need to confirm tamponade before we open anything. That means ultrasound. That means draining—not cutting.”

Doug frowns, reaching back for the ultrasound probe. “Right, right. Why didn't I think of that.”

He moves the probe across the chest. Adjusts the screen. Then nods, face shifting from skepticism to focus. “That’s not lung shadowing. That’s cardiac. Look at the compression on the left ventricle.”

Benton doesn’t speak. But his jaw flexes tight. He glances at the screen, then gives a curt nod to the nearest nurse. “Prep for pericardiocentesis.”

No argument. Just movement.

The entire room shifts—like someone yanked it out of autopilot and shoved it back into awareness. Everyone pivots. Everything clicks into place. The chaos doesn’t disappear, but for the first time all shift, it aligns.

You step back from the center, letting the team work. Letting Carter lead.

And in the middle of the motion, Carter glances at you.

It’s brief. No dramatics. Just a look—quick and sharp, like he’s trying to say something he’s never had the space to before. He blushes faintly. Not from embarrassment—but something quieter. More personal. He still clutches the chart like it might vanish if he lets go. His voice is soft. Just for you.

“…Thank you, Doctor.”

You meet his eyes. Hold them just a second longer than necessary. Then nod once, like it’s nothing.

And then the work goes on.

[lalathemediterraneanmermaid]

Ikepri reigns as real life countries

Hi there again my dear Belles. As we all know, ikemen prince reigns ar based on real life countries, or at least, that's what it looks like, specially knowing character's names, I mean, we have Chevalier (french), Von Obsidian (dutch - german), Ricci (italian), Yves (french), Kagari Amagase (japanese)... But, even though some kingdoms are easily "recognised" in real life countries, there are some others that are not that clear. That's why I've decided to match each kingdom to a country. This is just my opinion, so feel free to expose yours. Hope you enjoy little rabbits!!!!!!

Rhodolite - France

Romantic and Elegant Atmosphere: France is often seen as the epitome of romance, known for its picturesque landscapes, charming cafés, and the enchanting ambiance of cities like Paris. Rhodolite reflects this romantic and elegant atmosphere through the bookshops, the taverns, the little plaza with the fountain, the market, the pastisseries, the landscapes, the town… creating a kingdom where love stories unfold against a backdrop of beautiful scenery and intimate settings. The kingdom features elements like festivals or traditions that celebrate love, happiness, freedom and union.

Art, Fashion, Culture and roses: France has a rich artistic heritage, being the birthplace of influential movements such as Impressionism and home to iconic fashion houses. Rhodolite emphasizes this connection by showcasing characters who pay close attention to this type of visual and external things, such as Nokto with the jewelry, fashion, perfumes, etc. The presence of roses as a symbol of beauty and love could be significant in Rhodolite, with gardens filled with rose varieties and floral motifs present in everything, echoing the French appreciation for aesthetics, and also, it is known that France’s national flower is the rose.

Royal Legacy and Noble Etiquette: France’s history is steeped in royal legacy, with grand palaces, elaborate courts, and a system of noble etiquette that has influenced many cultures. Rhodolite portrays a kingdom that maintains these traditions, highlighting a royal family that embodies elegance, grace, and responsibility. The interactions among the nobility reflect the formal customs and social hierarchies reminiscent of historical French courts, adding depth to character relationships and political dynamics.

Architectural Beauty and Palaces: French architecture is renowned for its beauty, with iconic structures like the Eiffel Tower, the Louvre, and the palaces of Versailles and Fontainebleau. Rhodolite showcases stunning architectural designs, blending various styles like Gothic, Baroque, and Rococo, for example seen in the palace. The kingdom is dotted with grand mansions and beautifully designed public spaces, reflecting the importance of architectural beauty in French culture and serving as a backdrop for significant events and gatherings.

Revolutionary Spirit: France is known for its revolutionary spirit, marked by events like the French Revolution, which reshaped the nation and inspired movements worldwide. Rhodolite embodies this revolutionary ethos by portraying characters who advocate for change, challenge the status quo, and strive for social justice. The kingdom is depicted as a place where ideas of liberty, equality, and fraternity resonate, driving the narrative of personal and societal transformation.

Obsidian - Germany

Strength, discipline and Military Power: Germany is historically recognized for its strong military tradition and disciplined approach to governance and society. Obsidian embodies these qualities by depicting a kingdom with a robust military presence, emphasizing values such as honor, loyalty, and strategic prowess. Characters in Obsidian reflect the disciplined nature associated with German culture, portraying dedication to duty and strength in adversity.

Industrial Powerhouse and Innovation: Germany is renowned for its industrial strength, being home to leading companies in sectors like automotive, engineering, and technology. Obsidian highlights this aspect by showcasing a kingdom that values innovation and technological advancement, I mean they “invented” the guns. The presence of skilled craftsmen, inventors, and engineers are prominent, illustrating a society that thrives on progress and economic power, mirroring Germany's historical emphasis on efficiency and quality.

Cold and Austere Atmosphere: Germany’s cultural identity often includes a perception of coldness or stoicism, reflected in its architectural styles, weather, and social interactions. Obsidian captures this austere atmosphere through its landscapes, character interactions, and overall aesthetic. The kingdom is characterized by a serious demeanor, where emotions are expressed more subtly, especially fear, emphasizing strength and resilience over overt displays of warmth.

Central European Strategic Position: Germany’s central location in Europe has historically made it a crossroads for trade, culture, and politics. Obsidian represents this strategic significance by showcasing its role as a threat for other kingdoms that surround the obsidianites. Characters navigate complex political landscapes, reflecting Germany's historical importance in shaping European dynamics and alliances.

Architectural and Cultural Grandeur: Germany boasts a rich architectural heritage, with castles, cathedrals, and modern structures that showcase its historical and cultural grandeur. Obsidian features majestic buildings, representing the kingdom’s power and strength.

Benitoite - Italy

Luxurious Lifestyle and Grandeur: Italy is synonymous with luxury and grandeur, known for its opulent fashion, exquisite art, and historical monuments. Benitoite embodies this luxurious lifestyle by portraying a kingdom filled with elegant palaces, lavish celebrations, and a strong emphasis on beauty and aesthetics. Characters dress in fine fabrics and adorn themselves with beautiful accessories, reflecting Italy’s rich cultural heritage in fashion and art.

A nation benefited by the sea: Italy’s long coastline has significantly influenced its culture, economy, and way of life. Benitoite reflects this connection to the sea through its geography, highlighting vibrant coastal cities and a thriving maritime culture. The kingdom showcases bustling ports, trade routes, and a lifestyle that embraces the ocean, with characters engaging in activities like fishing, sailing, and enjoying the beach, mirroring Italy’s deep-rooted relationship with the Mediterranean Sea.

Gastronomy and Sophistication (the best of the best): Italian cuisine is renowned worldwide for its richness and diversity, emphasizing high-quality ingredients and sophisticated flavors. Benitoite emphasizes this culinary heritage by showcasing elaborate feasts, traditional cooking methods, and a strong focus on fresh, local produce. Characters engage in the art of cooking, like Silvio when he swapped bodies with Rio, celebrating gastronomy as an essential part of their culture, reflecting Italy’s status as a culinary capital.

"The cradle of commerce": Historically, Italy has been a central hub for commerce and trade, particularly during the Renaissance when cities like Venice and Florence thrived economically. Benitoite embodies this spirit of commerce, showcasing vibrant marketplaces, trade fairs, and a culture that values entrepreneurship and innovation, I mean, look at Silvio, nothing more to add. Characters are depicted as merchants, traders, or skilled artisans, highlighting the importance of commerce in the kingdom’s prosperity.

Rich Alcoholic Heritage: Italy is famous for its wine production, with regions like Tuscany and Piedmont known for their exceptional vineyards and rich traditions surrounding wine-making. Benitoite reflects this alcoholic heritage by incorporating wine and other alcoholic beverages culture into its narrative, showcasing characters who appreciate fine liqueurs, attend harvest festivals, and engage in alcohol making traditions. This connection to Italy’s rich alcoholic heritage could also be reflected in the kingdom's celebrations, where drinking plays a significant role in social gatherings.

Jade - The Netherlands

Natural Beauty and Green Landscapes: The Netherlands is renowned for its picturesque landscapes, characterized by lush green fields, beautiful flower gardens (notably tulip fields), and tranquil waterways. Jade embodies this natural beauty, showcasing a kingdom filled with vibrant flora and serene environments, where characters are deeply connected to nature. The kingdom features breathtaking gardens, parks, and countryside, reflecting the Dutch appreciation for their scenic surroundings.

Rich Herbal Traditions and Innovation: The Netherlands has a long history of herbal medicine and innovation in horticulture, with a significant focus on cultivating plants for medicinal and culinary purposes. Jade highlights this aspect by incorporating herbal traditions, where characters utilize local herbs for healing, cooking, or crafting potions. The kingdom is portrayed as a center for herbal innovation, showcasing advanced gardening techniques and a thriving market for medicinal herbs, mirroring the Dutch reputation in this field.

Cultural Heritage, Tolerance and Neutrality: The Netherlands is known for its cultural diversity and historical commitment to tolerance and neutrality in international affairs. Jade reflects this spirit by portraying a kingdom that embraces various cultures (obsidianite refugees) and ideas, fostering an environment of inclusivity and understanding. Characters from different backgrounds coexist peacefully, contributing to a rich tapestry of traditions, beliefs, and customs within the kingdom.

Connected Communities: The Dutch are famous for their strong sense of community and interconnectedness, often seen in their cooperative agricultural practices and social networks. Jade emphasizes this sense of connection by showcasing tight-knit communities where people work together for the common good, support each other, and celebrate local traditions. The kingdom features festivals, markets, and communal events that highlight the importance of relationships and collaboration among its inhabitants.

Wildlife: The Netherlands is home to a diverse array of wildlife, including various bird species, insects, and unique ecosystems like marshes and wetlands. Jade reflects this biodiversity by incorporating elements of wildlife into its narrative, where characters have a deep respect for nature and actively engage in conservation efforts. The kingdom showcases natural habitats and characters who are passionate about protecting the environment, mirroring the Dutch commitment to sustainability and conservation.

Tanzanite - Persia

Historical Influence and Rich Heritage: Persia has a rich historical legacy, with significant contributions to art, literature, and science throughout the ages. Tanzanite embodies this heritage by portraying a kingdom that honors its past through storytelling, art, and tradition. The kingdom includes historical sites, ancient temples, and a culture that celebrates its roots, reflecting the grandeur of Persian civilization and its impact on the world.

Persian Aesthetics and Ornamentation: Persian art is renowned for its intricate designs, vibrant colors, and detailed craftsmanship. Tanzanite captures this aesthetic through its architecture, clothing, and decorative arts. The kingdom features elaborate palaces adorned with mosaics, beautiful gardens inspired by Persian design, and characters dressed in richly embroidered garments, showcasing the beauty and sophistication associated with Persian culture.

Philosophy and Mysticism: Persian culture has a long tradition of philosophical thought and mysticism, with influential poets and thinkers like Rumi and Omar Khayyam exploring themes of love, spirituality, and the human experience. Tanzanite reflects this depth by incorporating elements of philosophy and mysticism into its narrative, I mean, Azel is portrayed as a God. Characters engage in discussions about existence, love, and magic, drawing inspiration from Persian literature and thought, creating a reflective and introspective atmosphere in the kingdom.

Trade and Cultural Exchange: Historically, Persia was a vital hub for trade along the Silk Road, facilitating the exchange of goods, ideas, and cultures. Tanzanite could mirror this aspect by showcasing a vibrant marketplace where diverse cultures converge, highlighting the kingdom's role as a center for commerce and cultural interaction. Characters might be seen as traders, merchants, or travelers who bring different perspectives and traditions to the kingdom, enriching its cultural tapestry. Let's not forget the trade relationship between Azel and Silvio...

Economy: Persia was known for its wealth derived from trade, agriculture, and craftsmanship. Tanzanite could have reflected this economic strength by portraying a kingdom that values trade and innovation. The kingdom might have  thrived on the production of unique goods, such as textiles, spices, or artisan crafts, showcasing a dynamic economy that supports its inhabitants and fosters prosperity. But the reality that they have shown us is that they are not as economically powerful as they seem. It almost looks like the greater houses are pretty rich while the rest of the population might live in poverty.

Kogyouku - Japan

Cultural Heritage and Tradition: Japan has a rich cultural heritage characterized by traditional arts, crafts, festivals, and rituals that have been preserved for centuries. Kogyoku seems to embody this sense of tradition through its customs, ceremonies, and the way its inhabitants celebrate their history. The kingdom highlights tea ceremonies, calligraphy, and traditional music, emphasizing the importance of honoring one’s ancestors and cultural practices, thus creating a deep sense of identity.

Sakura trees: Sakura (cherry blossom) trees are iconic in Japanese culture, symbolizing beauty, the transient nature of life, and the arrival of spring. Kogyoku incorporates these trees into its landscape, creating scenes of breathtaking beauty during the cherry blossom season. Characters participate in hanami (flower-viewing) festivals, celebrating the fleeting beauty of the blossoms, which aligns with the Japanese appreciation for nature and the passing of time.

Japanese aesthetic: The Japanese aesthetic emphasizes simplicity, naturalness, and the beauty of imperfection, often seen in art forms like wabi-sabi. Kogyoku reflects this aesthetic through its architecture, gardens, and crafts. The kingdom features tranquil gardens with carefully placed rocks and water elements, understated yet elegant clothing, and art that embraces asymmetry and simplicity, capturing the essence of Japanese beauty.

Civil war: The Sengoku period (1467-1603) was a time of social upheaval, political intrigue, and military conflict in Japan, characterized by powerful clans vying for control. Kogyoku draws inspiration from this historical context, incorporating themes of rivalry, strategy, and the quest for power among noble families. Characters embody the spirit of samurai warriors, showcasing their loyalty, courage, and the complexities of allegiance during a tumultuous era, enriching the kingdom’s narrative with historical depth.

Focus on Honor: Honor is a central tenet of Japanese culture, particularly within the samurai ethos. Kogyoku reflects this focus on honor through its characters’ values, emphasizing loyalty, duty, and respect. The kingdom has a code of conduct that guides the behavior of its inhabitants, with stories centered around noble sacrifices and the importance of maintaining one’s honor in the face of challenges. This aspect resonates deeply with the samurai legacy, highlighting the significance of integrity and personal honor within the kingdom.

Achroite - Sweden/Finland/Iceland

Cultural Coldness and Reserve: The Nordic countries are often perceived as having a cultural disposition characterized by a certain reserve or coldness, particularly in social interactions. Achroite embodies this aspect through its characters, who exhibit a calm and composed demeanor, reflecting the understated communication style of the region. This cultural coldness can be portrayed as a strength, emphasizing the value of inner strength and emotional control, which allows for deep connections beneath the surface.

Commitment to Justice and Equality: Sweden, Finland, and Iceland are known for their strong commitment to social justice, equality, and human rights. Achroite reflects this ethos by showcasing a kingdom that prioritizes fairness and equal opportunities for all its citizens. The kingdom has laws and systems that are pretty strict, emphasizing the importance of social equity in governance and community life, creating a narrative centered around progressive values.

Strong-Minded and Resilient Individuals: The people of the Nordic countries are often characterized by their resilience and strong-mindedness, adapting to the challenges of their harsh environments. Achroite embodies this quality through its characters, who display determination, independence, and resourcefulness in overcoming obstacles. The kingdom might celebrate stories of individuals who stand firm in their beliefs and face adversity with courage, emphasizing the strength of character that defines its inhabitants.

Wisdom and Rationality: Nordic cultures value education, critical thinking, and rational decision-making, often relying on informed discourse and logical reasoning to address societal issues. Achroite reflects this emphasis on wisdom and rationality by portraying characters who approach challenges thoughtfully and analytically. The kingdom is depicted as a center for learning and intellectual exchange, where knowledge and wisdom are cherished, fostering a culture of informed dialogue and progress.

Law and Order as Pillars of Society: In the Nordic countries, law and order are fundamental to maintaining a peaceful and stable society. Achroite mirrors this principle by showcasing a kingdom where justice, rules, and civic responsibility are highly valued. The narrative highlights the significance of laws that promote societal harmony and the role of institutions in upholding order. Characters take on roles as guardians of justice, working to ensure that the kingdom remains a safe and orderly place for all its inhabitants.

And that's it my loves!!!! Hope you've enjoyed this quite long but interesting post!!!! Bibble loves you XOXO.

[headphone-the-idjit]

TreeStriders

The TreeStriders (or alternatively known as “Carexi”) are plant-leaning omnivorous beasts that live primarily in vertical oriented environments.

Their strange wrists and large hands assist with clambering through trees and fending off potential danger. The tendons in their forearms act similarly to flexible hydraulics. However, with their wrists being exposed, any injury to them without support of other TreeStriders, may prove fatal.

Their large, jutted, angled teeth (or as some may refer to as ‘tusks’ due to visual placement) are moreso skilled in taking apart plant matter. Though are seen actively hunting other animals. These teeth serve many purposes. Some of which include: mating display, weapons to clear dispute, foraging, grooming, et cetera.

Their ability to travel long distances on flat terrain is sub par in comparison, causing an overt amount of extended strain on the spine and shoulders. Their ability to sprint on such surfaces, despite the well adjusted hind legs, is limited due to the front limbs.

Due to their social nature within their species, they appear to have complex roles and relationships, some of which are not unlike hierarchies. The structure of such groups depends on location, individual species within the genus, symbiotic relationships (concerning other species outside of TreeStriders), or even ‘clans’. They are not outwardly aggressive typically, though of course, this may be situational.

[best-bird-tournament]

FAQ

Is there a way I can view which species are moving on to the next round? You can look at the master spreadsheet, which outlines the hierarchy for all the polls. Black boxes with species names in them indicate results from completed polls.

What metrics am I supposed to judge the "best" bird by? Follow your heart. Look at the birds and ask your soul which one is the best. Or go on a research binge! Learn something wild about a bird! There's no wrong answer.

Can I submit propaganda or will you reblog it? You are more than welcome to add propaganda to reblogs, but they won't be reblogged here for the sake of making polls easy to find. I will delete asks that contain propaganda. That said, in the spirit of whimsy, memes/jokes about the birds in competition may be accepted/reblogged, and I reserve the right to reblog any truly exemplary or bizarre bird facts added to poll posts.

How are polls ordered? Polls will progress through taxonomic classification groups, starting with genus groups and progressing upward. Some species may not be included in earlier polls because there are few species within the larger taxonomic ranks. (e.g. a species that is the only member of its subfamily will progress automatically to the family-level polls.)

Can you label the photos with alt text? No, with the sheer number of polls and photos I post, this is not a reasonable request. In the context of this poll, it would not actually be useful for visually impaired people. For matching photos to answers, I recommend counting.

When will you post my favorite bird? Have patience. Every bird will have its day. Please understand, there are so many birds.

Why did you group certain species together the way you did? Any awkward species groupings you see will most likely be due to navigating the 12-option limit in the most efficient way possible.

Why aren't you including extinct birds? Partly because I am only including birds that have photos, but mostly because there are already so, so many birds.

Why aren't you including birds that don't have photos on Wikipedia? Because this is already an absurd undertaking, and seeking out photos is not a viable amount of effort. I also am skipping species that only have taxidermy/specimen photos.

Why is your icon a pterodactyl? To avoid the appearance of favoritism.

Will you do run-off polls? Yes, if there are ties for first place, there will be a run-off. If a species wins with less than 50% of the vote and a margin of less than 10%, I will do a run-off of first and second place (including ties for second). If there is a tie for first with each having less than 50% and their combined margin is less than 10%, third place will be included in the run-off. Exception: for a genus with a large number of species requiring multiple rounds, I may instead advance species otherwise eligible for run-offs together into the next round.

I disagree with your classification/taxonomy of a certain species! I want to be very clear: we are not playing this game here. Go find an ornithologist at your local community college and start a fistfight with them. It will be more productive.

[girls--complex]

hi, love your work a lot! it manages to blend coherence with layers of esoterica, in a fun & meaningful way. do you have any big influences with your style?

Writing this as a narrative because my whimsicall mind can't seem to organize information logickally otherwise

So

When I was a child my Dad would show me a lot of comics/cartoons in all different styles/eras and so I was internalizing comic book logic from the very beginning. He really liked American comix both capes and Indie stuff but was also into franco belgian artists and let's be clear my papa has good taste so I was readying good stuff though I couldn't remember it all too reliably... Also Comics Journal, so I was reading comics & meta about comics. So basically I have like a deep archetypal brain stem dark spring of mind that spits out raw comic information like a dream that I can't place until I rediscover them, and a lot of deep unremembered imprintations that R kinda roiling around under the surface #Stupidsoldier

N then I was a deviantart kiddo and a reading manga at barnes and noble kiddo, and then I went and got a formal art education and learned about all these artists that sort of did pseudo comics or cartoons but didnt articulate it that way-- The German xpressionists are a big example of this -- and also about overall principles of like scale and hierarchy and time and presence -- and also just that I really like drawin the human figure in particular :)

I'm really grateful that my parents especially my dad were actually really supportive/invested in me being an artist even though they had very little faith in my character or overall competence. so I was always doing art activities to make me better at drawing because that was like the one redeeming quality I had, a lot of household resources went into me having art tutoring or doing community classes, and I was really strongly encouraged to get ma BFA

So 4 influences well I like things that are very stylish but very specific in how they represent figure N physiognomy... Naoki Urosawa & Jeff Smith were fascinations 2 me along this line... Arakawa is good too... I feel like this is a strength of American and British cartoonists generally but struggling to think of names

My favorite painter is tied between two commies: Siqueiros, who was a Mexican muralist and chaotic socialist, really specific markmaking and texture, pathos drenched figuration, charged epic landscapes, and Petrov-Vodkin, Russian ikonographer who became a propagandist for the USSR, semi-social-realist, semi-ikonographic compositions in which space is wrapping around itself to organize human figures according to a mythological logic, flattish, very cartoons/comics aligned, strange treatment of color but all really effective

History painting overall is everything to me it really doesn't show in Coward but I think it shows elsewhere some of my other dramatic sensibility is a lot from 00s action movie shlock which I would always enjoy to go see when I was younger and was somehow fascinated with the environment of government buildings and prisons and secret operations happeningunder the surface of every day life erupting into wet violence of men punching each other

I love the movie THE RAID redemption !!!!

I learned a lot of the logic of pacing N building pages around Tezuka's work as well as FMA N Death Note I think were big 1s to teach me that logic. Tezuka is a really good artist to look at for how to compose a page that supports the energy of the events that are happening on it, not that that's something I personally am good at. Favorite mangaka for tone and environment and visual identity are Katsuhiro Otomo, Tustomu Nihei, Suehiro Maruo, Nishioka siblings, Hideshi Hino

A lot of my sense of timing is also from news paper strips tbh. It's just a gut thing to me at this point hehe , Character design is also a gut thing for me I draw a little thing and I can either ensoul it with psychosexual fixation or I can't

I was born in the hospital Henry Darger worked at St. Joe's he's an ancestor to me but ofc inimitable by virtue of GOD being his sole audience

As for the esoterickal dimensions I feel like it's all it's own post let's just say I lack the inclination and ability for systematic and rigorous study but I am really interesting in gathering little packets of information and arranging them into dioramas and the longer I do it the more packets I accrue

I want to make a list of artists on here that I like/admire sometime too but that's too much for me rn. I also suspect a lot of people R mad at me for arbitrary reasons just as I also am mad at a lot of people for arbitrary reasons so I dont wanna bother no one ...

Oh well so I'm intentionally reorganizing how I draw right now because I sense a shift in my trajectory again so thanks for making me reflect

[mocamagical]

I'm falling in love with your beautiful artworks of Charlastor and your Hazbin Hotel au! It's so beautiful and unique at the same time!💗💗

Since Lucifer knows his daughter is dating Alastor and so does Vox, I could see them bonding over how much they hated Alastor (Even though Vox still love or still have a crush on Alastor). He would totally agree with the King Of Hell that Charlie should break up with Alastor.

And Vox would immediately start asking Alastor to be his boyfriend if he becomes single someday after Charlie break up with him.

Which would never happened since Charlie and Alastor love each very much.

Nice to meet another Charlastor shipper fan! ❤️❤️❤️❤️

Keep up with your amazing beautiful artwork of Hazbin Hotel au!

Thank you!!! I love those ideas and definitely Vox would be opportunistic like that but Alastor has made it clear that he doesn't like Vox. And Vox for as much as he has a crush HATES Alastor. Here's a visual:

Vox is a man who wants to be better than Alastor more than be with him (at least in my AU) so while he can't win in an entertainment battle he can prod at him through the ever friendly Charlie. Obviously not threatening her. that's a death wish, but by being friendly with her and flattering her. Poking at Alastor's one weakness. And this is the only way Alastor will treat him as a fair rival. I've given the 2 of them equal weapons.

And as for Lucifer...I'd say even if he hates Alastor, he's too high in the hierarchy to really acknowledge Vox or their shared hatred.

Love where your head's at though. I've thought about it too

[dearly-somber]

get high | h.it

-> pairing. it-boy!intak x female reader

-> genre. high school!au, acquaintances-to-???, pwp plot what plot (this fic is vibes only)

-> rating. 13+

-> w/c. 2190

-> warnings. weed, making out, kind of dub-cony ngl 😭, suggestive ending

-> a/n. I’ve never smoked weed before, so if anything’s inaccurate feel free to edumacate me🤡👍🏻 Also: I have nothing against weed or the people who smoke it as long as it’s done responsibly and in a safe environment 😌

-> collection. misc

-> started. Mar. 19th, 2024 @ 22:40

-> fin. Sun., Oct. 20th, 2024 @ 22:48

-> edited. Tues., Oct. 22nd, 2024 @ 13:20

-> divider credit. @xxbimbobunnyxx, @saradika-graphics

You‘ve never understood the “hype” around weed.

Granted, you’d grown up in a very anti-drug household, so you went into high school with the mindset that whatever long term negative effects occurred after smoking weed would far outweigh the momentary high you’d heard people talk about on so many occasions.

Except, you’d never expected yourself to acquaint yourself with Hwang Intak: one of the most popular kids in senior year, Intak was well-known for his chill house-parties and phenomenal dance skills—a total catch and in with the so called “it-group”, he wasn’t someone you saw yourself ever interacting with, let alone befriending.

That was, of course, before you realized you shared nearly half your classes with him.

You weren’t very popular—sure, people knew you (it was impossible not to when you’d befriended a hoard of social butterflies and were known at least visually for your intimidating, no-nonsense RBF), but you’d never truly made friends with any of the kids higher up in the social hierarchy than “is friends with popular kids but isn’t actually popular themselves”.

So imagine your surprise when, on a seemingly random Tuesday morning during one of your double accounting periods, Hwang Intak strolled up to your desk with a friendly smile on his face, his voice light and airy as he asked, “You’re Y/N, right?”

From there, you’d started talking more and more, until one day he cornered you on your way to your locker after your sixth period, leaning against the wall as he spoke.

“You free this weekend?” he asked.

You raised your brow skeptically, looking warily over your shoulder at people making grouchy faces at having to step around you to get to where they needed to go. “I don’t think so, why?”

He grabbed your forearm and pulled you into his bubble and out of the way of the bustling student body.

You gulped up at him, cursing the heat you felt crawling up your throat at the closeness between you.

“I’m having a small get together with some friends to celebrate my birthday,” he said, putting his hands in his pocket as he tilted his head against the brick wall next to you. “I was wondering if you’d wanna join.”

Your eyes widened. “Me?”

“Yeah.”

“Uhm… I mean, I—yeah, sure, I’ll be there,” you coughed, thanking the heavens above he seemed not to be focusing on your neck; you could feel how hot you’d gotten without needing to check first.

“Cool,” he said. “I’ll see you this weekend.” He smiled charmingly and began walking towards the staircase (where you belatedly realized a group of his friends were waiting for him), but panicked a little realizing you had no idea where to meet him.

“Intak!”

He turned around with a hum, his eyebrows raised ever so slightly.

You cleared your throat, rocking on the balls of your feet. “Where are we meeting?”

“Ah,” he laughed, walking back to you with a grin so captivating you were surprised your mouth wasn’t hanging open. “You have a pen?”

“A—uh, yeah, hold on, lemme just” —you dug around in your bag for your pencil case before pulling out a black pen and handing it to him, perplexed.

Your eyes widened when he reached once again for your forearm, ducking his head as he shook the pen out and began writing what you assumed was his number on your exposed skin, drawing a weirdly symmetrical, grinning heart with little devil-horns and a tail at the end.

“There we go,” he said, tucking the pen into your emblem pocket with a boyish grin.

He laughed at your bewildered expression as he backtracked toward his friends, the look he gave you sending a hoard of butterflies loose in the pit of your stomach. “See you soon, Y/N! I’ll text you the details!”

“I, uh” —you pinched yourself— “yeah, okay!”

Now, you’re probably wondering—what does any of that have to do with weed?

Well… maybe it’s easier to just show you.

“Y/NNNN!” Intak grinned at you from his couch, shamelessly eyeing you up and down as you walked sheepishly into his living room.

You waved awkwardly, feeling heat creep up the column of your throat when he giggled and waved back, a dumb grin on his face.

You fiddled with the hem of your white skirt, tugging the sleeves of your black Kuromi sweater over your fingers as one of Intak’s older friends, Choi Jiung, ushered you to sit between Intak’s legs.

“So…” You cleared your throat, crossing your spread legs at the ankles so you didn’t have to worry about accidentally exposing anything you didn’t want exposed. You forced a relaxed smile. “What are we doing?”

Jiung laughed good-naturedly, pulling a girl you didn’t recognize into his lap. “We’re smoking,” he said with a smile, his eyebrows furrowing in curiosity as he asked, “Have you smoked before?”

You hummed uncertainly, fiddling with your fingers—the heat of Intak’s legs against your arms was making it incredibly difficult to think. “No, I don’t really smoke…”

The girl in Jiung’s lap’s eyes widened. “What? Never?”

You shook your head.

“Not even once?”

“No,” you whispered, resisting the sudden urge to spring up and dash for the door.

“Ash,” Intak reprimanded, shifting in his seat.

Just as you were about to turn your head to look at him, his breath hit the back of your ear, his hands on your shoulders and a smile in his voice.

“You don’t have to if you don’t want to,” he assured you. “It’ll help you relax, though.”

He massaged your shoulders to emphasize his point and you tried very hard not to squeak in surprise.

Since when was Hwang Intak so good with his hands?

“You wan’ a hit?” Jiung offered, holding a joint out to you with wide eyes and raised brows; weirdly innocent-looking considering the situation you were in.

You swallowed a lump in your throat.

On the one hand, you were kind of scared. What if all those things your parents had said were true? That one hit meant you’d be a goner forever and start doing hardcore drugs because you’d started with the “Gateway”? That if you started now you’d become immediately enslaved to the high and never recover?

But, despite those worries, despite those fears…

Intak hadn’t stopped massaging your shoulders—rather, he’d dragged his hand to the base of your neck, gently pressing his forefinger against your pulse-point before sliding it down to brush across your exposed collarbone.

Thank the heavens he chose not to comment on the shiver that shot up your spine, but it was clear in the little huff of air behind you that he found your reaction amusing.

Really, you were curious. And maybe you wanted to impress him.

Just a little bit.

So you nodded, smiling awkwardy as Ash—Jiung’s girlfriend(?)—whooped and clapped with an obnoxious laugh of encouragement.

You took the already-lit joint from Jiung, holding it between your pointer finger and thumb, inspecting it.

Intak giggled, “Just put it to your lips and pull.” His chest expanded with the amount of air he sucked in through his teeth, letting out an exhale with an exaggerated grunt of relief.

You nodded uncertainly, releasing a nervous breath before bringing the joint up to your lips.

“There we go,” he whispered next to your ear, his chin resting on your shoulder as his hands ran up and down your arms; bold from the cannabis or because you were in his house, you didn’t know.

Not that you really cared, anyway.

You mimicked Intak’s movements and set the roll down in a coughing fit, waving your hand in front of your face like it’d stave off the aching burn traveling from the back of your throat all the way through to your lungs.

It took a couple of seconds for you to stop coughing, looking around the room with your hand fisted in front of your mouth and tears pooling in the corners of your eyes.

You met the expectant eyes of Ash and Jiung—and then you… laughed. And you laughed a little more, and some more, until you were giggling dumbly because why were they looking at you like that!

“Atta girl!” Jiung hooted, leaning far back into his chair before taking another hit from his own blunt.

“How d’you feel?” Intak asked, his eyes lighting up when you turned your head to look at him proper. His pupils were visibly dilated, sucking you in a little like a black hole.

You grinned, leaning back against his knee.

“I feel good,” you slurred, letting your eyes roam his face and grinning when he seemed to smile brighter because of it. “Really good,” you admit.

“Yeah?” Intak said, licking his lips. “Calmer?”

“Mmm…” You dragged your lower lip between your teeth and indulged in the wonderful cartwheel your stomach did as Intak watched the motion with rapt attention.

“Now,” Ash clapped her hands together, wiggling her eyebrows with a devilish smirk. “Let’s play truth or dare.”

“Y/N!” Ash yelled, completely indifferent to Jiung’s lips attached to her neck, “truth or dare?”

You hummed playfully, still leaned back against Intak’s leg.

You’d mellowed out considerably since you had your first pull around twenty minutes ago—you were leaning against Intak like it was normal and the hand he was running through your hair didn’t even make you bat an eye.

“Dare,” you said with a grin, light and happy and relaxed—more relaxed than you’d been during summer break!

Ash grinned mischievously, bringing a hand up to pull at Jiung’s hair, looking at him over her shoulder with a vicious smile. “I dare you to kiss Intak.”

“That’s boring,” Jiung panted, his cheeks tinged pink as he licked his lips and watched Ash with a furrowed brow, head tilted back with her firm grip in his hair.

She rolled her eyes, but turned to you and said, “Fine. I dare you to kiss Intak’s tongue.”

You licked your lips with an excited giggled, using Intak’s knees to push yourself up before turning around to smile at him with a happy sway in your step.

Intak watched you with a lazy grin as you walked between his legs, setting your hands beside his waist and leaning forward at a 90° angle to connect your mouths in an easy kiss.

“Yah!” Ash laughed, the sound breaking the two of you apart. “That’s not his tongue!”

You giggled and waved her off, looking down at Intak with hooded eyes.

“Stick your tongue out,” you ordered, staring at his mouth like a starved animal.

Intak grinned, watching you like a puppy watches his owner as he obediently stuck his tongue out, leaning cockily back into the couch.

With a surprising ease, you leant down and touched your lips to his tongue, so intrigued by the feel of it you gave it a little kitten lick of your own.

Intak groaned as he grabbed you by the back of your neck and pulled you in for a very heated kiss, sticking his tongue in your mouth and tilting his head for better access.

You were on cloud nine and vaguely floaty, setting your hands on his upper thighs to keep yourself from wobbling over.

You only pulled away after Jiung let out a low whistle, Intak, lips red and swollen with a possessive hand on the nape of your neck and a hungry, nearly insatiable look in his eyes.

“Well, shit,” Ash laughed, leaning back against Jiung’s shoulder. “Didn’t think you had it in you, Y/Nie.”

You licked your lips as Intak leant up to press a chaste kiss to the corner of your lip, a confused noise leaving you when he suddenly pushed himself to standing.

You felt a little flip in the pit of your stomach at how tall he suddenly felt now that you weren’t towering over him, biting on your lip as he grabbed your hand.

“Let’s go to my room, hm?” he asked, not really waiting for an answer as he lead you to the stairs. “Get some privacy.”

You waved to Jiung and Ash (though neither of them waved back because they’d opted to start sucking each other’s faces off), watching with a growing fire the way Intak’s back muscles moved when he walked.

“You’re a good kisser,” you complimented as he lead you upstairs, laughing when he brought you into his room. He shut but did not lock the door behind him.

“Yeah?” he smirked. “How good?

“Very,” you assured, eagerly standing on the tips of your toes and wrapping your arms around his shoulders so you could keep kissing him.

“Mmm,” he hummed against your lips, guiding you back until the two of you were laying flat on the edge of his bed, his hands running up to trace the bare skin under your shirt. “You’re not so bad yourself.”

You nipped his lip, sighing into his mouth when he gave your waist a little squeeze. “I’m a little out of practice,” you panted.

He chuckled, pulling away to give you a devilish smirk. “We can practice.”

And so practice you did.

[turtblurts-pkmnirl-hub]

i love designing pokemon trainers because like depending on the specific era of pokemon character design you can get wildly different interpretations of what makes a “good” pokemon trainer design.

like if you look at npcs from RSE vs ORAS there is a CLEAR difference in design philosophy despite them being fundamentally the same character.

and yes, part of it has to do with the style, proportions, posing, and just the general fact that there’s a 10 year gap between them, but its clear that the design philosophy itself changed as well. the ORAS youngster adds details that are visually interesting but not distracting— namely the sableye shirt, striped shorts, and band-aid over the nose. the shorts were changed to black so that the distribution of blue wasn’t overpowering, and also added the additional benefit of creating a value hierarchy that leads the viewer’s eye to the most important details of the design: the shirt and the face.

but im getting ahead of myself. i could talk design details all day but my point is that like. wowie! these are all pokemon trainer designs! they all look vastly different because they were all designed by different people and from different eras and yet we can still clearly identify them as pokemon characters one way or another!

a pokemon trainer outfit can be simple, kinda out there, or REALLY out there! you can do whatever you want forever and ever.

[pruneunfair]

If I remember this right, this image was about when Rashta was unknowingly giving Navier some attacks on her reputation or social warfare idk and this is Navier giving retaliation towards Rashta as a lesson for Rashta not to attack rashly at her, Navier telling "Stop being immature to me, it's embarrassing" to Rashta in a discrete indirect way. As though Navier was reprimanding a little girl, Rashta

I'm pretty sure this is another symbolism/example to showcase Navier's willingness and ruthlessness to go to war with Rashta and how politically savvy she is

Yet this image shows their dynamic perfectly, let me put my visual analysis skill to the test:

First! The Colors, Navier is all in black, black is the color of power, death and cruelty, it's the ultimate color of professionalism, showing Navier's VIP senior player of the political games status, other details of her outfit and the style oozes the symbol of authority and order, y'know power can't be white, it's just too soft looking, black shows absolute authority

Rashta is dressed in gray with a hint of greenishness, her color is tacky, it's dull, it's pale in comparison to Navier's, she wears what a slave would wear, how unfashionable, it's weak, it shows that Rashta is just a noob, not barely an amateur of the social scenes or the deeply complex governmental intrigues. She doesn't know how to play at all, how unlucky! Also her color is a bug's color, she's basically a bug compared to Navier in the levels as a player

Second! Postures, Navier's posture is straight, dignified, it shows her confidence and experience, her face is turned away with her back is turned to us, the viewer, the best players and the most dangerous predators are the ones whose faces you don't know what they look like, their expressions aren't visible, their moves unpredictable, it shows that Navier will strike whenever she likes, however she likes and you wouldn't expect it, like a lethal predator

Look at poor Rashta, she is a frightened little girl who doesn't know what to do in this scary political hell, she's scared and vulnerable, this is how she always feels, always is when she's trying her best to survive without no one to guide and no one to actually help her at all, poor dear, she doesn't even know which square to move on the chessboard and she was scared of the outcomes, like a meek prey

Third! This ties to the Second, their Statuses, Navier the Empress and Rashta the Slave, the way they're turning their backs to eachother and only we see Rashta's face are actually symbolic of the entire hierarchy, specifically the Royal Power towards Slavery, Navier's back is turned to Rashta, the Royal Power turned its back to Slavery, Navier can hear but can't see Rashta, the Royal Power heard the abuses and atrocities of Slavery, Navier's posture is unyielding and froze behind Rashta, the Royal Power was a lifeless statue with Slavery in its all consuming Shadow, Navier rejected and refused to accept Rashta in all forms and shapes and so will the Royal Power to Slavery

Rashta is scared and helpless because no one will care and listen and help her just like how no one bats an eye at Slavery because Slavery is the norm for the Royal Power of the Eastern Empire

Why would a Statue care for what's in its Shadow when it's just a bug scurrying in the Dark?

Lastly! This entire image, taking all of what I said into account, this is war, the tiny pieces or ink blotches that look like debris drawn around them are the proof of their war, the war of Power and Oppressed, they wear the colors of soldiers of different factions, the winning and losing sides, it's a battlefield or perhaps a stage is more appropriate to call it for the ladies? Get your guns and your bullets ladies, it's time to break the stage and go to war!

The outcome? Well it's already clear right? Black always envelops grey! It's part of its shade y'know!

This illustration is the entire painting of the true horror and battle of Remarried Empress: Not love and betrayal, but war and corruption of power

I wholeheartedly believe artists are the GODS of Show don't tell and I'm here for that, I have a knack for visual analyzing and storytelling and this is what I haven't tried for a long time, I enjoyed this!

Stay tuned for the next analysis episode cuz I'm in a mood! Maybe I'll make another one

Can't wait to see more of your art analysts, I never would have thought anything of this panel beforehand

[bernkastel11]

Art Analysis:

𝐄𝐦𝐩𝐫𝐞𝐬𝐬 𝐚𝐧𝐝 𝐒𝐥𝐚𝐯𝐞

Original sent here

If I remember this right, this image was about when Rashta was unknowingly giving Navier some attacks on her reputation or social warfare idk and this is Navier giving retaliation towards Rashta as a lesson for Rashta not to attack rashly at her, Navier telling "Stop being immature to me, it's embarrassing" to Rashta in a discrete indirect way. As though Navier was reprimanding a little girl, Rashta

I'm pretty sure this is another symbolism/example to showcase Navier's willingness and ruthlessness to go to war with Rashta and how politically savvy she is

Yet this image shows their dynamic perfectly, let me put my visual analysis skill to the test:

First! The Colors, Navier is all in black, black is the color of power, death and cruelty, it's the ultimate color of professionalism, showing Navier's VIP senior player of the political games status, other details of her outfit and the style oozes the symbol of authority and order, y'know power can't be white, it's just too soft looking, black shows absolute authority

Rashta is dressed in gray with a hint of greenishness, her color is tacky, it's dull, it's pale in comparison to Navier's, she wears what a slave would wear, how unfashionable, it's weak, it shows that Rashta is just a noob, not barely an amateur of the social scenes or the deeply complex governmental intrigues. She doesn't know how to play at all, how unlucky! Also her color is a bug's color, she's basically a bug compared to Navier in the levels as a player

Second! Postures, Navier's posture is straight, dignified, it shows her confidence and experience, her face is turned away with her back is turned to us, the viewer, the best players and the most dangerous predators are the ones whose faces you don't know what they look like, their expressions aren't visible, their moves unpredictable, it shows that Navier will strike whenever she likes, however she likes and you wouldn't expect it, like a lethal predator

Look at poor Rashta, she is a frightened little girl who doesn't know what to do in this scary political hell, she's scared and vulnerable, this is how she always feels, always is when she's trying her best to survive without no one to guide and no one to actually help her at all, poor dear, she doesn't even know which square to move on the chessboard and she was scared of the outcomes, like a meek prey

Third! This ties to the Second, their Statuses, Navier the Empress and Rashta the Slave, the way they're turning their backs to eachother and only we see Rashta's face are actually symbolic of the entire hierarchy, specifically the Royal Power towards Slavery, Navier's back is turned to Rashta, the Royal Power turned its back to Slavery, Navier can hear but can't see Rashta, the Royal Power heard the abuses and atrocities of Slavery, Navier's posture is unyielding and froze behind Rashta, the Royal Power was a lifeless statue with Slavery in its all consuming Shadow, Navier rejected and refused to accept Rashta in all forms and shapes and so will the Royal Power to Slavery

Rashta is scared and helpless because no one will care and listen and help her just like how no one bats an eye at Slavery because Slavery is the norm for the Royal Power of the Eastern Empire

Why would a Statue care for what's in its Shadow when it's just a bug scurrying in the Dark?

Lastly! This entire image, taking all of what I said into account, this is war, the tiny pieces or ink blotches that look like debris drawn around them are the proof of their war, the war of Power and Oppressed, they wear the colors of soldiers of different factions, the winning and losing sides, it's a battlefield or perhaps a stage is more appropriate to call it for the ladies? Get your guns and your bullets ladies, it's time to break the stage and go to war!

The outcome? Well it's already clear right? Black always envelops grey! It's part of its shade y'know!

This illustration is the entire painting of the true horror and battle of Remarried Empress: Not love and betrayal, but war and corruption of power

‘𝐍𝐨 𝐦𝐚𝐭𝐭𝐞𝐫 𝐰𝐡𝐚𝐭 𝐚 𝐛𝐮𝐠 𝐝𝐨𝐞𝐬, 𝐚 𝐬𝐭𝐚𝐭𝐮𝐞 𝐰𝐢𝐥𝐥 𝐧𝐨𝐭 𝐭𝐮𝐫𝐧 𝐢𝐭𝐬 𝐡𝐞𝐚𝐝’

I wholeheartedly believe artists are the GODS of Show don't tell and I'm here for that, I have a knack for visual analyzing and storytelling and this is what I haven't tried for a long time, I enjoyed this!

Stay tuned for the next analysis episode cuz I'm in a mood! Maybe I'll make another one

[togglesbloggle]

This particular round of fever dreams/vivid auditory hallucinations had me spending the last 3-4 days being periodically subjected to generally-nice but slightly alarming comments by a sort of "Toggle prime", the version of myself one level higher in the universe-simulation hierarchy and had who decided to experience this life constrained to my own narrow perspective, as an artistic/aesthetic learning opportunity.

Honestly, my slightly overcooked brain did a quite good job of handling those conversations- my memories of them are a little hazy of course, as you expect with dreams, but I don't see any obvious slips or holes. We had discussions about what sort of superintelligence he(?) is, which he gently deflected, and about why he was breaking keyfabe, which he had a good and kind of sweet answer for. Stuff like that. He opined about my own circumstances a bit of course, but with a light touch; he didn't want to distort our subjective experience of our life here too much.

There's no existential crisis here, to be clear. He didn't provide, and I didn't ask for, genuine evidence like predictions of future events. So it's firmly in the "cool dream patterns" bucket, not something I have to take too seriously. What I especially like about this one is that as bad as the experience of illness can be, I'm starting to find a little bit of refuge in the particular consequences for the storytelling parts of my brain. It used to be that fever dreams were just unremediatedly awful, just heat and constriction and visuals like melting film in a projector, all the horrors of flesh. Nowadays, far less so. Crystalized skills involving narrative and story mean that 'broken' thinking still holds together in certain ways, and the entire process is so much less traumatic. Even, in this case, somewhat comforting at times.

[eyeballplanets]

It would be teeny bit funny that the act of sexual and reproductive violence that the Invincible comic is known for is actually the least horrifying example and is the least illustrative of the comic’s commentary on how systematized sexual and reproductive assault and coercion are if it wasn’t just a clear indicator of how little fandom types understand the structures that reinforce such bodily autonomy violations.

The comic equivalent of Anissa (and I use the overly precise wording because it is clear, to me and anyone who has paid attention to what her introduction is saying, or even just having taken a good look at the show’s visual language and tone, that her show counterpart is in fact poised to be opposed to this kind of violence) isn’t the only woman that does this to someone, nor is Mark the only male victim! The white men that constitute the comics’ most vocal readers just posted the panels around the time she was introduced in the show because they think it’s grotesquely amusing. And if you mention liking her show’s counterpart in any way on Tumblr, fandom bloggers sheepishly comment “Erm... do you... know what she did?” Yes, better than most. I also know what Telia and Thaedus did to Allen, and what Thragg did to the Thraxans. An entirely different character’s reputation is being sabotaged by a gratuitous act whose focus in the spotlight just serves to render the far more horrific acts of reproductive violence more gratuitous. It is seeing events as weaving together a larger narrative and not merely engines for things to happen to the protagonist that allows me to state with confidence what characters are and aren’t being vantaged to do. The moment where show Anissa refuses to partake in the empire’s violence and is berated for it is not setting up the moment in the comic where she gleefully and voluntarily partakes in the empire’s violence despite having opportunities not to. Invincible simultaneously engages in a more juvenile tone than the comic to place its themes in the flashy superhero conflicts and to avoid the edgy acts of gratuitous sexual and domestic violence in the comics AND is a show meant for adult audiences that merits close scrutiny. Somehow the fandom has this backwards: to them, everything only happens because of cartoon logic, but you never know when the rape is coming!

The coercion that Allen experiences in the comic is genuinely thoughtfully written. We see the stress that it puts him under: he talks about being physically exhausted because of the ‘deposit cycles’; he is forbidden from having intercourse with anyone else; his partner never lets up begging him to have sex with her despite his regularly telling her no; he tells her no because of the political consequences and because of this immense exhaustion. I don’t think fandom types realize how even one of these elements isolated actually represents what people experience all the damn time: a state-sanctioned coercion to do what he does not want to do, and an interpersonal coercion that ignores that he is exhausted and unwilling. The former isolates him enough to make him susceptible to the latter; the latter pressures him enough to make the former more taxing. It happens to a man, who drops his humorous mask because of this immense strain on him, and it doesn’t require the gratuity of being pinned down in a crater by a larger woman. It doesn’t matter how strong he is: the political and social threats are enough to cow him. It is meant to contrast the similar programs that the Viltrumites run: the main force that is fighting the empire is resorting to the same tactics. Reform and resistance are not enough to counter these pernicious systems.

As much as I love jokingly about stanning my problematic fav, it is genuinely frustrating that the show’s version of Anissa has things to say about the model minority, about polite fascism, about color-blind narratives, about two people who are each situated in hierarchies giving each other the language to resist those hierarchies, but any amount of interest in her is occluded because of nail-biting about arcs that the show has already averted. And then I see the same fans gleefully stan the male character who is responsible for the far grosser and far more familiar act of coercion. It is extremely white of the fandom that the conquering king who demands that the women he has subjugated bear his children en masse to build an army is not met with the same disgust when it is part and parcel for real life colonial movements. Every story of settler violence against indigenous communities has a moment like this: it is a rare moment of understanding on Kirkman’s part in the midst of unrepresentative shock value moments that he would write this man doing this. The fandom excuses it because the women are bug aliens and because the acts happen offscreen, but the attempts I see to whitewash it by positing that the conquerer in question must have consensually romanced every single woman are rendered flimsy when we see that the delivery room is a literal stage inside a massive nursery with rows and rows of identical babies, where the nurses congratulate the painful birth of the child with an affirmation that it is the monarch’s desire. This is what imperial violence still generates.

Obviously, anyone can like any character they want, I get it, but it bothers me how often discussions around this aspect of the comic—that the show has intentionally averted—just reveal a profound ignorance on what it is saying. The comic is gratuitous, but the chain of events is not accidental. If we’re going to have complex conversations about characters and bodily autonomy violations, we at least need to recognize what they are.

[creature-studios]

Spec Evo - Wood Apes

Sasquatch (Gigantopithecus sylvaticus)

Evolutionary Origins

Sasquatch, classified within the Ponginae subfamily, is a surviving descendant of Gigantopithecus blacki, an extinct giant primate that once thrived across Pleistocene Asia. Fossil evidence suggests G. blacki was an herbivorous, forest-dwelling ape, but climate shifts and human expansion likely forced a portion of its population to migrate, adapting over millennia to new ecosystems across North America. Unlike its arboreal relatives, Sasquatch underwent terrestrial gigantism, evolving enhanced bipedal locomotion to navigate dense forests efficiently while retaining strong upper-body musculature suited for climbing and foraging.

Physical Characteristics

Sasquatch stands between 8 to 12 feet tall and weighs over 600 lbs, with a massive, barrel-chested torso covered in thick fur ranging from deep auburn to dark brown or black—an adaptation for insulating against cold climates. Its dermal ridges, observed in footprints, indicate a digitigrade walking posture, reducing noise during movement and aiding stealth. Compared to modern apes, its cranial capacity is significantly larger, suggesting advanced problem-solving abilities and environmental awareness. The mandibles and dentition closely resemble those of Gigantopithecus, with broad molars adapted for grinding fibrous plant matter.

Its skin pigmentation is melanin-rich, allowing mild infrared absorption, a trait observed in some nocturnal mammals for heat regulation. Additionally, Sasquatch exhibits countershading camouflage, where its underside is lighter than its back, reducing visual contrast and aiding concealment in shadowed environments.

Locomotion and Dexterity

Though primarily bipedal, Sasquatch retains semi-quadrupedal flexibility, using its arms for stability when traversing uneven terrain. Its achilles tendon structure suggests explosive bursts of speed when necessary, a trait common in terrestrial primates such as baboons. The prehensile hands have long, dexterous fingers with toughened pads, enabling fine manipulation of objects. Unlike orangutans, whose hand morphology favors grasping branches, Sasquatch exhibits ground-adapted knuckle reinforcement, supporting weight distribution over long distances.

Sensory Adaptations

Sasquatches have exceptional low-light vision, akin to that of nocturnal predators, aided by a tapetum lucidum—a reflective layer behind the retina that enhances night vision. This adaptation allows it to operate efficiently during dawn and dusk, minimizing encounters with human populations.

Auditory capabilities include infrasound communication, a trait found in elephants and tigers, which enables long-distance vocalizations undetectable to human ears. Sasquatches are known to emit deep-chested vocalizations, engage in wood-knocking, and produce whistle-like calls to signal territory or coordinate movement.

Its olfactory senses are highly developed, with Jacobson's organ—an auxiliary sensory system found in some mammals—allowing it to detect pheromonal cues for identifying prey, territorial markings, or environmental changes.

Diet and Foraging Behavior

Sasquatches are opportunistic omnivores, consuming a diet of roots, tubers, fungi, berries, and occasional protein sources such as small mammals or scavenged carcasses. Its powerful jaw muscles allow it to process tough plant fibers, mirroring the dietary adaptations of Gigantopithecus blacki. Unlike obligate carnivores, Sasquatch relies on fermentation in the gut, similar to gorillas, enabling digestion of dense vegetation.

Sasquatch exhibits seasonal dietary shifts, consuming higher-caloric foods in preparation for colder months, similar to bear hibernation patterns. Additionally, they have rudimentary food storage behaviors, including stashing edible material in natural crevices or buried caches.

Social Structure and Territoriality

Unlike other great apes, which display clear troop hierarchies, Sasquatch usually exhibit solitary or small-clan behavior, maintaining vast territorial ranges to avoid competition. Evidence suggests regional vocal dialects, indicating structured communication between individuals occupying adjacent ranges.

Sasquatch exhibits environmental engineering, demonstrated by reports of constructed lean-to shelters, woven branch structures, and strategically placed rock formations for marking territory or guiding navigation. Their ability to manipulate objects implies a rudimentary understanding of tool usage, though primarily for environmental modification rather than advanced crafting.

Ecological Role

As a keystone species, Sasquatch influences forest ecosystems by dispersing seeds through its diet, contributing to vegetative regeneration. Its presence as an apex herbivore helps regulate plant overgrowth, preventing habitat imbalance. Potential interactions with wildlife include avoidance of large predators, using strategic movement to minimize conflicts with bears, mountain lions, or wolves.

Although elusive, Sasquatch sightings have occurred consistently over centuries, aligning with indigenous folklore describing forest-dwelling guardians.

Yeti (Gigantopithecus himalayensis)

Evolutionary Origins

The Yeti, (Gigantopithecus himalayensis), is a high-altitude offshoot of Gigantopithecus blacki, adapted for survival in the extreme conditions of the Himalayas. Fossil evidence indicates that G. blacki thrived in tropical environments, but climate shifts may have forced a population to migrate northward, gradually evolving traits suited for alpine ecosystems. Unlike Sasquatch, which is adapted for temperate forests, the Yeti exhibits cold-weather gigantism, a phenomenon seen in large mammals like bison and bears, where increased body mass aids thermoregulation.

Physical Characteristics

The Yeti stands between 7 to 10 feet tall, with an extremely robust frame and thick fur ranging from white to gray, providing camouflage against snow-covered landscapes. Its double-layered coat is similar to that of Tibetan blue bears, consisting of dense underfur beneath long, coarse guard hairs. Unlike orangutans, which have shorter limbs for climbing, the Yeti’s longer legs allow it optimized bipedal movement across snow. Large plantigrade feet distribute weight evenly to prevent sinking, akin to adaptations in snowshoe hares and lynxes.

Additionally, it possesses enlarged nasal passages, increasing oxygen intake at high altitudes, and hemoglobin adaptations similar to Tibetan humans, allowing for efficient blood oxygen transport in lower atmospheric pressure.

Diet and Behavior

The Yeti is a facultative omnivore, consuming lichen, roots, winter berries, and opportunistic protein sources such as carrion or small mammals. It even exhibits seasonal hibernation behaviors, reducing metabolic activity during extreme Himalayan winters. Unlike Sasquatch, which prefers dense forests, the Yeti thrives in high-altitude rocky terrain, relying on stealth and environmental awareness to avoid predators such as snow leopards.

Its territorial behavior includes vocalizations such as low-frequency growls, rumbling infrasound, and rhythmic rock-knocking, similar to known primate communication methods. Unlike fully social great apes, the Yeti exhibits semi-solitary behavior, maintaining small familial units scattered across vast territories.

Orang Pendek (Minopongo sumatranus)

Evolutionary Origins

Orang Pendek (Minopongo sumatranus), meaning “short person” in Indonesian, is a species of dwarf pongine. Unlike its gigantopithecine relatives, Orang Pendek represents a miniaturized adaptation to dense, lowland rainforests. This species evolved from early Pongo ancestors, adapting for ground-level agility and terrestrial foraging, distinguishing it from modern arboreal orangutans.

Its small stature—between 3 to 5 feet tall—reduces metabolic demands, allowing efficient survival in resource-scarce environments. Theories suggest Orang Pendek may exhibit convergent traits with extinct hominin species like Homo floresiensis, another small-bodied primate that adapted for tropical island survival.

Physical Characteristics

Orang Pendek is covered in short, coarse reddish-brown fur, closely resembling the coat of modern orangutans. Unlike its arboreal relatives, it exhibits strong, compact limb musculature, suited for rapid movement through jungle undergrowth. Its plantigrade walking posture allows for stealth and efficiency in navigating dense foliage. Additionally, its hands and feet remain highly dexterous, enabling the use of tools for foraging.

Compared to Sasquatch and Yeti, Orang Pendek has smaller, rounded molars, indicative of a fruit-heavy diet, supplemented with roots, insects, and small vertebrates. Its jaw structure suggests powerful bite force, allowing it to process hard nuts and fibrous plants.

Behavior and Ecology

Orang Pendek exhibits solitary and small-group behavior, mirroring the reclusive nature of orangutans. Unlike the Yeti or Sasquatch, which thrive in colder regions, Orang Pendek is strictly tropical, relying on dense rainforest cover for concealment. It exhibits intelligent foraging strategies, such as using rocks or sticks to extract insects, resembling rudimentary tool use seen in wild orangutans.

Its cryptic nature and alleged ability to mimic forest sounds may serve as defense mechanisms against predators such as clouded leopards and sun bears. While some legends describe Orang Pendek as a near-human entity, its placement in Ponginae suggests it is a specialized primate rather than a hominin-relative.

Yeren (Gigantopithecus sinensis)

Evolutionary Origins

The Yeren (Gigantopithecus sinensis), or "Wild Man" of China, is an offshoot of G. blacki that survived in the dense subtropical forests of central and southern China. Unlike Sasquatch and Yeti, the Yeren exhibits arboreal adaptations, suggesting it retained some tree-climbing capabilities while incorporating more terrestrial behaviors over time. It likely diverged from Gigantopithecus populations that migrated eastward, evolving traits suited for warmer, humid environments.

Physical Characteristics

The Yeren stands between 6 to 9 feet tall, with reddish or dark brown fur, reflecting similarities to modern orangutans (Pongo spp.). Unlike fully terrestrial primates, Yeren retains curved fingers and powerful gripping strength, allowing it to navigate canopies or scale rock faces when necessary. Its limb proportions suggest semi-bipedal locomotion, switching between upright walking and quadrupedal movement depending on terrain.

Its facial structure exhibits pronounced brow ridges, deep-set eyes, and a sloping forehead, similar to fossil evidence of Gigantopithecus. Unlike Sasquatch, which thrives in temperate forests, Yeren's lighter skeletal frame allows for greater agility in thick jungle environments.

Diet and Behavior

Yeren is a frugivorous omnivore, consuming fruit, nuts, small vertebrates, and honey. Reports suggest tool-using behaviors, such as using rocks to crack nuts or sticks to extract insects, indicating primitive problem-solving abilities. Unlike Sasquatch, which may exhibit nocturnal habits, Yeren is diurnal, maintaining activity during daylight hours while avoiding dense human settlements.

Yeren is territorial yet passive, avoiding direct confrontation and relying on stealth and strategic retreat patterns. Vocalizations include low growls, hoots, and wood-knocking, similar to observed orangutan behavior.

Almas (Australopongo caucasicus)

Evolutionary Origins

The Almas (Australopongo caucasicus), reported in Central Asia and the Caucasus region, is a cold-adapted pongine that evolved in high-altitude, temperate regions. Compared to its relatives, Almas exhibits shorter fur, reduced body size, and enhanced endurance suited for mountainous terrain. Its lineage may trace back to ancient hominid-like pongines that migrated westward from Southeast Asia, adapting to a mixed-woodland and grassland ecosystem.

Physical Characteristics

Almas is shorter than Yeti or Sasquatch, standing between 5 to 7 feet tall, with stocky, muscular proportions optimized for climbing and navigating steep environments. Unlike the taller Gigantopithecus descendants, Almas has broad feet and shorter limbs, indicating enhanced power and stability over agility.

Its facial structure is closer to orangutans, retaining a sloping forehead and large jaw structure, but exhibiting forward-set eyes, implying enhanced depth perception for tracking movement in open terrain. Fur coloration ranges from grayish-brown to tawny, blending with rocky landscapes.

Diet and Behavior

Almas is a foraging omnivore, subsisting on roots, fungi, tubers, insects, and occasional protein sources. Unlike the tree-dependent Yeren, Almas exhibit burrowing behaviors, utilizing caves or rock crevices for shelter. The wide territorial range of Almas suggests a nomadic lifestyle, migrating seasonally in response to food availability.

Reports suggest rudimentary communication, including soft vocalizations, rock placements, and gestural behaviors, potentially resembling early hominid communication styles.

Yowie (Gigantopithecus australis)

Evolutionary Origins

The Yowie (Gigantopithecus australis), associated with Australia, represents a unique pongine adaptation to arid environments. Unlike its forest-dwelling relatives, the Yowie evolved traits suited for survival in savanna, scrubland, and eucalyptus forests, adapting kangaroo-like movement efficiency to cover large distances.

Fossil evidence suggests that Gigantopithecus never reached Australia, but land bridge migration during prehistoric climate shifts could have introduced proto-pongine species, which then adapted to Australia’s harsh and unpredictable climate.

Physical Characteristics

The Yowie stands between 6 to 10 feet tall, with dark brown or black fur, similar to marsupial megafauna such as wombats or koalas. Compared to Sasquatch, Yowie exhibits leaner muscle structure, longer limbs, and reduced bulk, allowing it to move more efficiently across open terrain.

Unlike other pongines, the Yowie’s foot structure resembles kangaroo-like digitigrade adaptation, allowing for long-distance travel and rapid acceleration. Additionally, its facial morphology exhibits elongated jaw structures, enabling efficient water conservation and adaptation to drought conditions.

Diet and Behavior

The Yowie is a dry-climate omnivore, consuming roots, eucalyptus leaves, insects, and carrion. Unlike Sasquatch, which maintains cold-weather adaptations, Yowie developed heat-regulating physiological features, including sparse fur density and sweat gland adaptations similar to desert-adapted mammals.

Reports suggest intelligent problem-solving, with terrain memory, trail-marking behaviors, and complex evasive tactics when encountering threats. Unlike territorial Sasquatch, Yowie exhibits wide-range nomadism, constantly shifting its habitat in response to seasonal changes.

[iukasylvie]

"The System Falls Apart When You Stop Believing In It": Revolutionary Girl Utena, Danganronpa, and the Illusion of Power

I saw a post recently that argued the anime Revolutionary Girl Utena gets more credit for tackling systemic oppression than the visual novel series Danganronpa, because it more explicitly centers abuse dynamics, gender roles, and how institutions normalize trauma. And like—yes, totally valid read. Utena's deconstruction of fairy tale narratives, heteronormativity, and abuse within educational and familial structures is razor-sharp. It makes clear that the "system" doesn't need brute force—it just needs your compliance.

But I think we do Danganronpa a disservice when we act like it doesn't try to say something about institutional abuse. It's just... messier. Less poetic, more cynical. Less metaphor, more fallout. Less "escape the narrative" and more "we're already living in it."

Because let's be real: Hope's Peak Academy is the system. It curated "Ultimate" students, funneled the best and brightest into a hierarchy, then discarded everyone else into literal despair. Junko Enoshima didn't break the world—Hope's Peak laid the groundwork. Junko just turned the machine up to eleven.

And unlike Akio Ohtori's dueling game, which falls apart the second Anthy Himemiya walks away, Hope's Peak doesn't vanish when Junko dies. It lingers. Its legacy haunts the survivors. And that's the tragedy: instead of tearing the whole thing down, Makoto Naegi and co. go back and "rebuild" it, still clinging to the old system because they don't know what else to believe in.

(Which, yeah—Harry Potter epilogue energy. "All was well," except... no it wasn't.)

Also, I'm surprised the game Persona 5 doesn't get brought up more in these convos. Like??? Suguru Kamoshida is Akio Ohtori without the rose-tinted symbolism. A "beloved" adult figure using his prestige to physically and sexually abuse students while the institution covers for him. The difference? Kamoshida's power ends when his authority is shattered and his name is publicly ruined. No metaphors. Just consequences. And that's powerful.

But here's what's fascinating:

Utena ends when one woman says "no" and steps out of the narrative.

Danganronpa ends when an entire group risks death to expose the truth.

Persona 5 begins when a handful of teenagers decide that authority isn't sacred and start toppling it piece by piece.

Different methods. Different metaphors. But they're all stories about institutions that thrive on silence—and what happens when someone stops playing by the rules.

So yeah. Utena deserves the love. But don't sleep on what Danganronpa or Persona 5 are saying. It just might not be as neat or comforting.

[blbeloved]

GELBOYS HAPPY ENDING REVISITED

Happy to see people re-assessing blanket approval for Directors Boss’ consistent blind spots in his latest production in the clearer, more considered light of day. I don’t think any distortions credited to him are the fault of romance genre, as BL is on record as blazing Transformative new trails in this respect.

I do agree with the as yet not fully-formed green shoots of analysis suggesting this has more to do with capitalism and how ships have to be commodified and profited from later. This is what distorts the ending in capitalist BL producing countries. This ignored factor, not the pair system, is how the real potential of BL gets wasted because emotionally contented, satiated, and fulfilled people don’t exhibit the same spending patterns in the libidinal economy.

However, in terms of romance tropes in storytelling, the whole history of BL emerges because women looked at the problems of intimate relations with men - which are primarily emotional and sexual violations, and from there, something people called toxic but sensible people recognise as women’s everyday reality, they work through a process of visionary imagination with those male characters until they become something suitable for a romantic relationship that they’d like to experience in media. They don’t become perfect men at the end but there is a sense of having re-gained the skills and aptitudes that have beaten out of boys over the course of boyhood that prevents their gender disproportionately from accessing the resources generative of the intimacy(which is not sex) they crave as adults.

There are so many times when we see an adaptation of a BL in Thailand where fans of the original source material say “it was better in the book”. Why? Mostly because the OG women (and a growing minority of men who wanted to challenge and transform “gay reality”) writing it spent a disproportionate amount of time dealing with the emotional interiority of the characters and the Process by which they come to recognise what they’re doing and to Struggle to Change it, or at least be on a path where they’re in full comprehension of what needs to change. In the drive for views this priority often gives way to superficial aesthetics, and or hot visuals, pushing out emotional depth as well as basic storytelling logics.

Furthermore, sometimes when male directors take up the stories, it’s obvious that too often restitution and reparation is not something they personally believe in and they’re not as obsessed with or even minimally invested in moving away from the desirability norms (dominance, hierarchy, valuing of the physical over the emotional; devaluing of femininity) pedestalised by other men in the community or in the wider society, which is the audience they appear to be writing for (not viewers who deliberately eschew mainstream gay media precisely because they’re dissatisfied and want to experience something different).

In reality these things do get accommodated in male dating circles so in most ways Director Boss is indeed accurately depicting what happens in the community in real life but in BL when critics say it’s not based in reality this is really a way to dismiss and reject the often painful character growth that men tend to go through in the original BL source material, that constitutes the departure of BL from mainstream queer media. In that sense, the fact BL doesn’t totally reflect gay reality - in the absolute and elaborate centering of Conflict Resolution elements of the storytelling, is the point!

Women invented this genre not simply to reflect reality, which it does, but primarily to Transcend it. To be clear some writers do this visioning better than others but the universal objective is not to remain within our current social reality but to CONTEST it. The contestation is articulating the heartfelt cry that - as lovers, mothers, sisters and friends of men, if we continue having gender relations as we do now, there is no future for humanity. We only have to look at several Asian countries that are producing BL to see the catastrophic state of gender relations is such that women are restricting interacting with men for friendship, dates, having children or for marriage. This is urgent because status quo threatens the whole of society.

This is happening in the west as well and not only among women but what queer men are going through in their relationships with other men has been given far less social concern. Just listen to the despair of ciz men and trans people talk about their experiences every weekend after Grindr hookups. They too are disillusioned but it is women who are still at the front of passionate initiatives (movements for men and boys’ socialisation are constantly pleading for more men to join as mentors and guides) to elaborate what kinds of radically different relationships we can have with men - as women and girls or as men and boys, not how can we navigate emotional and physical abuse in order to still find a way to be together with our unreconstructed abusers.

Now there are examples of Thai BL creators who have worked through queer intimacy challenges well (Dir New comes to mind as a king of this until his regrettable GMM era), it is not as though they do not exist despite the fact that there are fewer and fewer between in the post Cvd years. However there are undeniable reasons the data would point to, that are responsible for this divergence: the financial needs of the investors behind productions are being prioritised in the storytelling, not the HUMAN NEEDS of those typically interested in consuming it. This is where the reactionary and ultimately disappointing narratives are being inserted -because in the dominant culture they are “sexier”.

Look at the most popular BL adaptation in the world which is a Danmei adaptation. Dangai adaptations that emerge from Danmei, despite censorship - why are these the biggest, most loved and most rewatched, even driving their source material to be the most sought after BLs novels on the planet? I suggest it is because whether they are explicit or not, from Addicted to The Untamed, the characters in question go through a lengthy period of personal growth and in that personal growth they move further and further away from hegemonic masculinity (I think this is the point we miss with this brain-dead, illiterate campaign that comparing countries is to be forbidden). This openness of the male characters to change does more to undermine resistance to the dominant social construction of masculinity and male sexuality, than essentialist fables in our culture that all kinds of men internalise to their disadvantage.

This secret ingredient is called the Female Gaze. In its execution, it transforms both the nature of the couple’s relationship with and between themselves And Their Relationships With Others. The resolution is something that can change society rather than only themselves as individuals.

The female gaze is not something women do but a Form of Politics that can be adopted regardless of sex. The female gaze is why even when a Dangai doesn’t end with the main characters in the same frame, their journey to love as a couple fills the viewer with hope and a TRANSFORMATIVE mental attitude that can persist years later. Trapped is an example of a Dangai that even though adapted in a capitalist environment still actively resisted dominant romance storytelling norms in many ways; their CP is still marketable years later.

What frustrates us so much about the adaptations from some BL producing environments is that as time has gone on we are seeing the move further and further away from the political philosophy of BL while the values of the dominant culture, yes including the damaging values that exist in vulnerable subcultures, have come to supplant the more revolutionary potentials of BL. Meanwhile in China even the government is begging creators to re-impose hegemonic, Male-Gaze aesthetics and behaviours such as Thailand is increasingly doing without any laws forcing them to make CPs almost exclusively reflect hyper-masculine norms. As a result these compromised, self censored BLs from countries Without Acknowledged Censorship are more reflecting and tolerant of, and hence less challenging to, the societal status quo.

Older TBL for instance was largely among those to be experienced as a distinct Queer Reservoir of Optimism but today instead of challenging hierarchies and hegemony we are by and large, left with accepting, valuing and “giving grace” to inherently destructive ways of being - just as they are. I think that is the principal disconnect and despite such seeming high potential the ending of GelBoys proved to be as much a let-down as the general TBL trajectory. To live up to its transformative potential to viewers a BL must be Counter-Hegemonic in resisting even its own dominant cultures and sub-cultures.

Culture is a product of society. Transgressive cultural outputs must by definition reflect the comparative cultures but also Be in Active Resistance to the Culturally Normative, not simply acquiesce to it, in order for it to be beneficial to viewers’ bottom line and not just to corporate sponsors.