#or am i missing something here??

[kdramacrybaby]

I’m sorry, is it not immediately obvious that a roomba dragged her blood around? Like why are they making this a whole deal about a murderer drawing something on the floor when there are obvious wheel tracks???

[poorly-drawn-mdzs]

Sublime Equine.

[First] Prev <–-> Next

[usertoxicyaoi]

"But ... why do we only have sex before it's a sunny day?" TAIKAN YOHOU (2023). EPISODE ONE.

#1YearWithTaikanYohou.

[thisischeri]

instagram: cheri.png

[lunacias]

001: first shift

[stressfulsloth]

I've seen a couple of takes about Disco Elysium being copaganda going around recently, and beyond the fact that DE is relentlessly critical of the police force in general and makes explicit reference to the failures of the system that allow the officers in game to abuse their power, I also think it's important to note that there very literally is an in-world version of copaganda that the writers of the game use to parody that romanticised view of the brutality of policing. The RCM at their inception were structurally inspired by in-world copaganda- their culture, their "fashions, even weapon preferences, borrow heavily from classic Vespertine cop shows." Every investigation is it's own little drama, every officer imagining themselves to be the bad-ass hero of their own crime serial. Detectives name their cases like they're naming episodes of a TV series in a "robust but literary system"; a title that "draws inspiration from snoop fiction and Vespertine cop show staples". They give themselves nicknames to sound like cool, suave fictional officers- Ace, Dick Mullen, etc.- from the cool, suave world of copaganda.

The legend of the RCM's inception, the "point of contention" over its uncertain origins, is even an extention of that; the whole organisation is shrouded in this self-fictionalising mythos that allows for distance that in turn obfuscates much of its violence to the officers that participate in it. They get to convince themselves that they're not abusing their power; they're the hero of the story! The dichotomy of "good guy" taking out the "baddies," a manifestation of the libertarian fantasy of the "good guy with a gun" who does what it takes, just like in Annette's detective novels, and at the same time who rails against oversight bodies like Internal Affairs/'the rat squad' because due process slows down the immediate satisfaction of Swift Justice, despite Internal Affairs existing to protect the citizens from overreach on behalf of the police. "Wanton brutality" from police in their real world is a cold bitter reality but Dick Mullen was "made to crack skulls," "bend the rules and solve cases no one else can," and which version of that story is more comforting to the overworked, underfunded officers of the RCM?

The level of fantasy and detachment required for the cops to still see themselves as the good guys after everything that they do in the line of duty mimics The Pigs and her breakdown too; she parallels Harry so clearly. Both "did right by the kids" in the past, hoping for a better future- Marianne (The Pigs) by looking out for Titus and the Hardy boys when they were young, Harry in his role as a gym teacher. Both abandoned and left behind by the system that the RCM uphold- a brutal capitalist landscape with no safety nets. Both turning the source of their trauma into a costume, a performance, a shield, shaped by "radio waves and cop shows." The Pigs uses RCM items scavenged from the Esperance where they'd been thrown away, while Harry uses the Dick Mullen hat that Annette gives him but both are essentially in costume.

Harry identifies himself with the fictional detective as a kind of wish fulfilment; Dick Mullen is "wicked smart." He doesn't fuck up his cases and when he's sad it's not pathetic; it's effortlessly cool brooding and everyone sympathises. Everyone loves him. His violence- "skull crack[ing]"- is justified because he's a "good guy" enacting that violence against the victims of police brutality sorry "bad guys". He doesn't ever face repercussions; "Dick Mullen won't be sent to the clink for the sake of some legal niceties!" So if Harry is Dick Mullen then his failures, his breakdown, they're all just a part of being a "bad-ass, on-the-edge disco cop." He's not wrong, he's a hero! This idealised fictionalised idea of the police force, this "new, sadly better, reality" that both Harry and The Pigs cling to is "escapist stuff," "receed[ing] into a ludicrous fantasy world," so far removed from the brutal material reality that they're in.

My point is, idk. Disco Elysium is so far from being copaganda. It is a multi-million word long dissection of it, of the purpose of policing, of state sanctioned violence and its interaction with capital and the fallout experienced within the wider community as well as the trauma cycle created for individual officers. A dissection of how copaganda interacts with RCM culture and perception, and by extension how we interact with irl perceptions of police through that lens.

[minty-sweet-art]

Wake up my fellow nerds!! it #mintysillyart edit compilation time🚨🚨🚨🚨

✨carnival au addition✨

Carnival au and drawing by: @sm-baby

Yea this is 2 minutes long (save my soul i had to add everyone somehow for some reason)

Warning for: loudish tv beeping sound/car honk/yelling, cursing, emoji knife& Japanese Ogre mask, real gun photo, explosion gif

Gummigoo was harmed im sorry y’all

But no gloinks where harmed

Link to most of the drawing used here

Link to where the player drawing came from

Link to pomni pic

Link to caine pic (warning for violence and blood)

Link to zooble pic

And finally link to gloinks

[dailyloopdeloop]

DAY 103(123): miscellaneous practice beasts

[mamawasatesttube]

it's like, i really do enjoy most of the bats as characters and i really do like a lot of their comics. but also i am sooooo tired of them being hailed as better than literally everyone else. both in fanon but also in comics (modern ones are esp egregious imo, like WHAT was that shit about batman and the joker being the most dangerous men on the planet. hi. have you heard of lanterns? speedsters? supers? actually if i keep listing groups who could kick batman's ass we'd be here all day). they're like kudzu. that shit needs to stay in its native environment (funky little neo-noir detective stories) and stop being an invasive species (putting down everyone else to make them seem cooler). put bruce wayne back into a murder mystery setting that isn't about saving the world but is about saving one person or one family that no one else would've saved right now or so help me god. the whole invasive species cross contamination thing is unhealthy for both him And the other ecosystems he keeps getting transplanted into. please. it's so dark in here

[floccinaucinihilipilificationa]

Hello may 31th anon! Look at that, another year behind us and a new one to come. Have a nice day! ₍՞◌′ᵕ‵ू◌₎♡

[vaguely-concerned]

In light of the info about the properties of souls in The Unwanted Guest, I want to shout out that Gideon — with no grounding in the theoretical underpinnings of the subject whatsoever — actually makes basically the same observation about the permeability of the soul at the end of Harrow the Ninth, when she's in Harrow's body and (with some justification) is pretty sure she's about to die in the River:

Harrowhark, did you know that if you die by drowning, apparently your whole life flashes in front of your eyes? I didn't know, as I died and took you along with me—having kept you alive for what, a whole two hours?—whether it was going to show me both. Like, at the end of everything, if it was going to be you and me, layered over each other as we always were. A final blurring of the edges between us, like water spilt over ink outlines. Melted steel. Mingled blood. Harrowhark-and-Gideon, Gideon-and-Harrowhark at last.

‘As we always were’! ‘Melted steel, mingled blood’! (Also interesting that despite saying earlier in the book that all she ever wanted was for Harrow to eat her (oh Gideon), the metaphors Gideon reaches for here are not about consumption ala what Ianthe’s deal and thus traditional lyctorhood is presented as in TUG, it’s about similar and equal substances joining together to a new whole, more like what we see with Paul. I personally feel like a Paul-style merging for Harrow and Gideon is not in the cards and would not be a satisfying ending — it worked as a bittersweet conclusion specifically for Pal and Cam because those two are utterly nuts in all their sanity lol, but I don’t think the series means to present it as The definitive answer to the central question of individuation vs. connection. There is something so moving to me, though, in the fact that right at the end this is what Gideon wants for her and Harrow. Not for Harrow to eat her, not simply to be of use to her, but to be made together from the same stuff. It’s a longing for connection and union that’s finally at least in imagery free from the imbalance within the ultimately hierarchical roles of necromancer and cavalier that Gideon internalizes through her corruption arc in Gideon the Ninth, understandably so as it’s the only model she’s presented with in their society to understand intimacy and attachment and devotion through. But Gideon says Harrowhark-and-Gideon, Gideon-and-Harrowhark at last, mutually and equally. And I’ve written about this before, but at what must be almost exactly the same time, the same process is happening in Harrow’s mind through the evolution in the symbolism of her dream bubbles. Help I am emotions now) 

Palamedes is so right, Gideon is a lot smarter than most people -- including Gideon herself -- ever give her credit for.

[magicomens]

Is the piece of sword still in arthur?

..............There's a piece of sword inside Arthur???

[jadewritesficshere]

Pretty

Eddie Munson x reader

Contains: no plot just filth, sub!Eddie Munson, bound hands, edging, slight overstim, cumplay, ass play, aftercare, pet names (Eddie is called Baby), no gender descriptors for reader (your thighs are mentioned but not size or shape just that Eddie finds them beautiful)

This is unedited I wrote this in a blur idk how many words maybe 1k ill add that at a later time

18+ only!

"You look so pretty like this."

Eddie shudders as he feels your breath against the back of his neck. He looks ahead into the mirror, pupils blown wide at the scene before him.

You sit behind Eddie. A saccharine grin on your face. His back is flush with your front, he can feel every inhale and exhale you take. Your beautiful thighs he wants to bite are on either side of his. Your ankles are locked around his, holding him in place. Eddie's hands are bound with his belt, resting on your thigh.

Eddie's shirt is pushed up, belly button piercing glinting in the low light. The red of his piercing matches the red on his face that runs down his neck. If he had his shirt off, you'd be able to see the blush bleed into the top of his chest. He shivers as you blow against his ear.

"Look how pretty you are Eds."

He lets out a whine as your fingers delicately trail his length. His cock is flushed a deep red, almost purple at the top from how turned on he is. Slightly curved to the left, the tip leaking so much cum he's practically glistening. Your fingers ghost over the slit and his hips jump forward, only for your touch to leave. Teasing him again.

It was torture of the best kind. He isn't sure how long you have been teasing him. Tears in his eyes from pleasure and annoyance. Your hand wrapped firmly around him bringing him to the precipice only to let go before he reaches the edge. Tantalizing touches that sway the line of not enough and too much.

"Say you look pretty Baby."

He gasps as your hand wraps firmly around him again, hoping you won't remove your hand again. His nails dig into your thigh, trying to grab hold of anything he can. He can feel your smirk as you press a kiss to where his shoulder meets his neck. "I uh I look pretty," Eddie's voice is raspy.

"The prettiest boy." You murmur. "The fuck the prettiest boy." Eddie whimpers. A tear rolls down his cheek and he watches as you swipe it away. "Color?" You pause. "Green so green please don't stop," Eddie babbles slightly, turning to face you. You smile sweetly as your hand forces his jaw back to facing the mirror.

With your ankles locked around Eddie's, you spread your legs, thus causing his to spread wide open. Its obscene, being fully on display. "Awh," you coo at him, making him whine. Eddie shivers as you slide your hand up and down his shaft, your other hand gently squeezing his heavy balls.

Eddie jumps as you trail your fingers lower. You lightly press against his hole, just enough for him to feel it. It takes him a minute to realize the moan he hears was from himself. His cock leaks another spurt of precum, dribbling down your hand as you continue to jerk him off.

You remove the pressure teasing his hole and swipe up the cum that has leaked onto your hand. You coat your finger with it before pressing against Eddie's tight hole again. Your gently slide your finger in.

Eddie can feel his eyes crossing as his mouth drops open. He can feel you pump your finger in and out of him in tandem with the hand that is stroking him up and down. "Gonna come for me? You look so good baby. Look so perfect like this," you kiss the shell of his ear. Eddie nods, barely able to open his eyes. Barely able to think of anything as he feels the warm pleasure spreading throughout his limbs.

His hips snap up as a loud whine leaves him. His brain goes silent as pleasure comes over him in waves. You never falter your pace, its almost too much as he keeps cumming. It's the hardest and longest he has ever come, it almost knocks the breath out of him. His senses hone in on the euphoria he feels, numbing his mind to everything but the pleasure.

He pants and gasps as he slowly comes back to himself. He's barely aware he's holding onto your thigh with a death grip. "Did so good baby, so good." You murmur. "Uh-huh." Eddie can feel his heart beating in his chest. His limbs feel like jello. He's pretty sure if he tried to stand his legs would shake.

You slowly move out from behind him (wait when did you stop touching him?). Eddie opens his eyes, tracking you as you grab a water bottle and wash cloth on the bedside table. You wet the wash cloth before wiping the cum off him. Eddie tries not to but jumps from still being sensitive. You murmur apologies, as if you have anything to apologize for. If Eddie's tongue didn't feel of lead, he would sing your praises.

You toss the wash cloth away and quickly undo the belt around Eddie's wrists. Even though there isn't a mark, you take your time massaging his wrists and hands. You gently place a kiss on the back of both of his hands. If he wasn't already completely in love with you, that would have done it.

Eddie can barely focus on your words, barely think through how good he feels. He's aware you are holding the water bottle up to his lips and he drinks greedily. You swipe away the water that dribbles down his chin.

Eddie curls into you, head against your chest listening to your heart. You slowly stroke his hair, comforting him. He's aware you're whispering to him, praising him. All he can think about is how loved he feels in this moment. How safe he is in your arms. How he can fully let go and know you have him. How he knows you love him with your whole being, just as he loves you.

[ghost-bxrd]

ooh i’m now thinking about the court intrigue part of your dragon au, and dick and jason being smack dab in the middle of a power struggle. bc there’s a faction of ppl who don’t want dick as crown prince; he’s foreign opinionated, popular, and not as easy to control. and so when jason comes along looking like the spitting image of bruce, and seemingly shy and manipulatable, they seize onto him. and jason’s obviously super smart, but he’s not used to the underhand way the court works, and starts to trust many in that faction bc they’re kind to him( bonus points if they have some servants working for them, bc jason trusts the servants way faster as fellow common ppl)

and dick isn’t an idiot, so he sees what’s happening and sees his little brother who he loves but doesn’t know that well, start to befriend all the people plotting against him. and he can’t call him out on it and look jealous (even though he is super jealous bc here comes this adorable kid, who could be bruce’s real son and isn’t perpetually a foreigner, coming along and stealing his father’s love and trying to undo everything he’s worked for). so he instead tries to befriend jason more, while always half being on guard for a knife in the back. jason picks up on weird vibes but has no clue what’s happening bc he’s a kid and the court is filled with so many weird vibes lol.

and jason grows increasingly entrenched in that faction, and then dies in a way that looks like he turned traitor but it went wrong and he got killed (not what happened, but the evidence is very convincing) (the anti-dick faction is also upset bc darn there goes their heir). and bruce and dick are heartbroken (bruce especially since he was blindsided since dick never told him any of his suspicions since he didn’t think bruce would believe him). but they don’t spread the news of jason as a traitor bc he was a kid and they don’t want to do that to his memory, and there’s like a tiny kernel of hope that maybe there was a mistake. but then jason comes back to life on the dragon of the tyrant, and immediately begins gunning for the throne (via attacking the heirs to the throne, tim and dick). and dick is heartbroken all over again, bc his little brother really does want him dead and to steal the crown. jason has 0 clue about any of this and is hurt and confused why his brother is calling him a traitor. cue much angst

Omg the MISUNDERSTANDINGS I am THRIVING

Dick and Jason would inadvertently end up in a downward spiral of hate and betrayal, with Dick convinced Jason is trying to usurp the throne and Jason thinking Dick never loved him and took the first chance to get himself a new little brother. One that isn’t common folk 😭

But also, Dick could think that he could sacrifice himself to keep Tim safe.

Jason wants him after all, right? He might be angry at Tim, but it’s Dick who he wants dead. The crown prince. Because if he’s gone, Jason will be next in line for the throne. And if Dick is smart about this, he can strike a bargain that will ensure Tim gets to live….

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[this-is-a-name-dont-worry]

"Wait is that lore?" moments in Antoine's return stream

These ones are likely jokes, but (you can use it in your headcanons):

With Tubbo, explaining his absence by saying "I was dead, I think, but not anymore, I was tired of being dead"

"I couldn't explain to you, it's out of my understanding how I'm dressed. The human mind cannot comprehend how I'm dressed and so the human brain shows it that way, but it isn't exactly like that. It's not powerful, it's just weird"

"You know me well!" "Heh, I know you as if I made you!" *silence* (closest to maybe serious)

These ones are more serious:

He isn't romantically interested by Cucurucho, he just likes his ass (that totally a human is aro that's what I mean)

He really missed Pomme, he stopped coming because without her it wasn't interesting anymore (this one is just cute)

Very invested in knowing what happened to the eggs while they were away

Accidentally gave Pomme one of the books Ourson (I think it's this one?) gave him, immediately panicking when he realized. When Pomme asks what it was, he first tries to pretend not to understand, and is pretty serious when he tells her that it's nothing; he'll tell her about it one day, and it's his little secret garden, everyone should be allowed to have secrets, don't she think? she isn't against secrets, right?

Certain that the eggs went to some kind of other dimensions/got doubles?? I mean there was a theory inspired by Stranger Things but despite what Pomme is saying he's not letting go of the idea

After asking Pomme if she met dark Cucurucho and she talks about the Watcher: "Je crois pas qu'on parle de la même chose. Là tu me parles de l'oeil, et moi je pense que je te parle de quelque chose d'autre. Je pense que tu me parles du Watcher... là où moi je te parle d'autre chose." ("I think we're not talking about the same thing. Here you're talking about the eye, and me I think I'm talking about something else. I think you're talking about the Watcher... when me I talk about something else" again how does he know the name "Watcher".)

Knows that Maximus is dead, when all the other players seem to have decided to play the "don't know if he's alive or dead" card (bonus: Antoine and Pomme talking about telling Aypierre, and Pomme thinking she won't be able to find the right words "I don't think there are right words..." ok im sad now thanks). Since we're at it, when reading Pomme diary where she worries about Baghera and Antoine being dead, saying they can't be dead, he doesn't share that worry in the slightest, as if he knows Baghera's not dead (this one's dubious and I am very willing to put it as cc!Antoine not thinking rp)

He and Pomme are talking about what she remembers of the Watcher and honestly the whole conversation deserves to be clipped and transcribed. To go with him name dropping the Watcher, he is now only calling it the creature with one eye because that's how Pomme calls it

Pomme explains that the Watcher was observing her and Richas and there was a threatening aura to it, so they immediately fled. Antoine in a very serious voice "You were right to, you were right to, you were right to. Because I think it's this person who was at the origin of your disappearance."