#so i need to do some editings

[spidersins]

( human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel human angel )

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[hayden-christensen]

Incorrect.

HAYDEN CHRISTENSEN as DARTH VADER Ahsoka - Part Five: Shadow Warrior (2023)

[starry-bi-sky]

(Part of this post with older brother danyal al ghul)

...Okay, look. Sam knows she's staring. She knows very well that she is staring. And that if she doesn't stop staring it's gonna draw her unwanted attention, and that will only have to make her explain why she's staring. Which she doesn't want to do.

She's trying not to stare, which she thinks she should get brownie points for. She tries to look away, to find a spot on the wall to stare lifelessly at, maybe she can burn holes into some of these annoying socialites' heads. But eventually her eyes drift, and suddenly she's back to staring again.

Can you blame her though? Damian Wayne looks like a very close mini-me of her fucking best friend. Seriously, it's like looking into a mirror to the past. If that mirror to the past had green eyes rather than blue and a distinctive lack of a facial scar.

The first time she sees him when her parents drag her over to Bruce Wayne to butter up to him she has to do a doubletake. Then a triple take. Then a quadruple take, just for good measure that she was seeing what she was actually seeing. She was sure she looked like one of those stress toys that when squeezed had their eyes pop out comically like a Saturday morning cartoon, that's what she certainly felt like anyways.

Look, Danny's come a decent way from being that scowl-y, jerkish little ten year old she first met when he arrived like the wind to Amity Park five years ago (even if he was still occasionally scowl-y and jerkish), but one thing that's stayed the same is how reserved he is about his home life prior to being taken in by the Fentons.

He doesn't talk about it much, and Sam's come to know that he's very good at changing the subject when it gets brought up. Even after being friends for nearly four years, the only thing she and Tuck know for certain is that he has a little brother that he refers to as 'starlight', whom he cares a lot about but left on really bad terms with. And that he's never met his father, but wants to and knows who he is.

He's never told her or Tucker who he was though, and glancing at Bruce Wayne, Sam is realizing why. She can begrudgingly acknowledge all the good he's done for Gotham, but... well, if Danny told her that Bruce Wayne was his dad, she wouldn't have believed him at all.

But she's starting to see the resemblance, as subtle as it is.

And she sees the resemblance to Damian Wayne, her eyes dropping back down to him as he wears a very Danny-like scowl on his face, arms crossed behind his back as his eyes swept around the ballroom. He was five years younger than Danny, and god it was so, so weird.

His eyes turned on to her, and they locked gazes for a moment.

Involuntarily, Sam makes a startled noise and looks away. Fingers tap against her purse, black and purple and unfortunately a clutch that only held her phone and her wallet in it. She would have kept a knife on her, but her parents put their foot down and there was a security detail at the door. Only in Gotham.

Silently, she was hoping that the little Danny-me didn't say anything. Or at least, he hadn't noticed her staring. Which was a tall order if she ever heard one -- and unfortunately, her silent prayers went unanswered as her mother's eyes dropped down onto her.

"Did you say something, Samantha?" She asks in a sickeningly sweet voice, a sound that makes Sam's skin crawl. Her dad and Bruce Wayne's attention also turns onto her, and she glowers at her mom from the corner of her eye.

"I didn't say anything." Sam says, barely keeping her tone polite as she turned her head away. Her mother clucks her tongue, disapproving, but from her peripherals doesn't pester her more

Bruce Wayne, the bastard, takes that time to turn to Sam and grace her with his dime-a-dozen billboard smiles. "I've been talking with your parents this whole time, Miss Manson, you must be terribly bored. How is your schooling going?"

Sam eyes him up and down. On one hand, she immediately wants to be snarky. It's none of his business what her school life is like, she doesn't care for his fucking small talk.

On the other hand, this was Danny's whole father. Someone who she knows that Danny has wanted to meet for, what she's assuming, his whole life. He's never brought it up much, but she remembers that very quiet, solemn conversation she and Tucker had with him where he admits to having never met his dad. But god does he want to.

And... wait. Sam's eyes narrow, and she meets Bruce Wayne's eyes. Does this man even know Danny exists? She drops her gaze down to Damian, who was staring at her suspiciously, and then back up to Bruce, and she alternates between them.

Why was Damian living with Bruce, but not Danny? Why hasn't Bruce done anything to reach out to him - what was going on with Danny's biological family that Danny had to be separated from them, but not Damian? Danny's always been kinda mysterious, but now things weren't adding up.

Was Danny given up? Does Bruce just not want Danny, but wanted Damian? Why the fuck does Bruce Wayne know about Damian but not her best friend -- or does he know and just not care? He's fought for custody for his adoptive kids before, does he just not want to fight for his other biological son? Does he think Danny's not worth it?

She's never cared much about the Wayne family before, other than to hear about the advancements on WE's eco-friendly tech, but Sam thinks she's gonna have to look into why Damian Wayne was living with the Waynes.

Slowly, with a protective anger beginning to burn in her gut and crawl up her throat, a scowl slowly curls at the corner of her lip as she redirects her glare from her mother onto Bruce. "It's going fine," She says curtly, jutting her chin out defiantly. "Me and my friend Danny started a petition to fix the leaky faucets in the girls and boys' bathrooms in order to conserve more water for the rest of the city."

She eyes his face, waiting to see if anything like recognition flashes through it. And- and nothing. Sam breathes in slowly through her nose, trying to quell the red that's blurring the edge of her vision -- does he just, not know where Danny is?

Her parents however, make vaguely displeased expressions. "Our Samantha is... quite passionate about her pet projects." Her dad says, laughing low and nervously, "she's very vocal about silly things like that."

"Her friend Daniel is perhaps even worse than she is sometimes." Her mother adds on, fanning her face with her perfectly manicured hands with a sigh. "I swear, he's the one that keeps dragging her into these things."

Sam's anger turns on its head, and she whirls on her heel like a fire-breathing dragon. "It's Danyal." It rolls out like instinct. Danny's told them both that he hates the Americanized pronunciation of his name, but in a rare moment of restraint, puts up with it for reasons unknown to her. "And Danny doesn't make me do anything, it was my idea."

The name, Danyal, seems to ring some kind of bell in Brucie Wayne's head, because she sees him and Damian quietly perk up like two cats pricking up their ears. Her eyes flick onto him immediately, something dangerous rearing its head. So Bruce Wayne knows about Danny. And he's not reaching out to him. Is he? She's not sure.

She does know that she's gonna rip his throat out if she finds out that he's known about Danny this entire time and has been ignoring him while favoring his little brother. She'll hunt down Aragon herself and steal his dragon-shifting amulet and wreck house on Bruce Wayne if that's the case. Batman and his league of vigilantes be damned. Her parents don't notice her slowly turning head towards Bruce.

But Bruce does, and she makes direct eye contact with him. His smile doesn't falter, he just tilts his head like a curious puppy and looks at Sam's parents. She hopes Bruce can read minds, she hopes he can hear her threatening him.

"Danyal?" He asks, and Sam doesn't know if she hates the fact that he said it correctly or not. She just continues burning holes into him and hoping he might spontaneously combust.

Her mother waves her hand dismissively, tilting her nose up poshly into the air. "Our dear Samantha's little... foster friend from school," she says, not even bothering to hide her disdain, "a creepy little boy with the most garish scar on his face. He's a rude little thing, not good for polite company."

Scratch that, Sam mentally alternates between ripping into her parents and Bruce. She whirls on them. "Do not talk about Danny that way." She all but snarls, and they all but ignore her.

(She's tearing up the upholstery when she gets home. She's going to paint over the fine china. She's going to do something to make them pay for this.)

"Oh yes, he was taken in by that freaky Fenton family a few years ago." Her dad continues in lieu of her mom, and they both shake their heads disapprovingly. "It's just what our city needs, another menace."

"Danny is not a menace." Sam continues, raising her voice while her hands shake with rage. Her parents finally look at her, but she can already tell that they're going to scold her for raising her voice. She bulldozes over them and jabs her black-painted finger at them. "He's got a bigger heart than the both of you combined."

"Samantha, please." her mom says, exasperated. They both give her disapproving looks, Sam thinks about grabbing champagne off the tray of a nearby waiter and throwing it in their faces. "You defend that boy far too much. What do you actually know about him and his family?"

Sam sets her jaw, puffing herself up like a dragon protecting its hoard. She steps into her mom's space. "I know that he loves the stars; you can ask him anything about astronomy and he could give you an entire lecture on the formation, class types, and various gasses that stars are made up of. He can tell you how the Earth was formed, he can tell you about the visible light spectrum and about light curves, and a whole ton of other stuff that I don't really understand. But Danny loves talking about it."

Her face twists and scowls, "I know he cares a ton about the environment and about fixing light pollution, and preserving the forests and natural habitats of animals." She nearly jabs her finger into her mom's chest, "I know he loves dogs, and that there's one he feeds every day on the way to school that he calls Cujo, its a St. Bernard puppy and Danny carries him around whenever he sees him after school, and is in the middle of training him."

It's not a total lie, but it's not the whole truth either. Cujo doesn't need food, but Danny gives him it anyways. "I know he likes spicy food and loves movies but specifically only sci-fi and horror, and he hates most martial arts movies. His favorite superhero is the Martian Manhunter, but Batman comes in at a close second." For reasons to her that were pretty unknown, but it didn't matter.

"I know he loves wordplay and making puns, which I would have never expected from him when we first met, but it's so unbelievably Danny-like that I can't imagine him not making puns." And she smiles a little to herself, she remembers the first time Danny intentionally made a pun once and it got startled laughs out of both her and Tucker.

Her smile suddenly falters, and she swallows. Her lips purse up, wobbling, and she very quickly glances over to Damian Wayne, of whom is watching her with a vaguely bewildered expression alongside Bruce.

She turns her eyes back onto her parents. "And I know that he worries a lot, even if he has a shit way of showing it. I know he had a little brother that he hasn't seen since he was adopted by the Fentons, and he doesn't talk about him often but when he does he he calls him 'starlight'." From the corner of her eye, she sees Damian jerk.

"So- so, so what if he's not 'good for polite company'." Sam's voice, embarrassingly, cracks down the middle. But she's so angry over Danny's behalf that she doesn't really care. "Or that he can be mean, and critical, and stubborn. He's learning, and he's becoming kinder by the day. That's more than I can say about you."

(She remembers when Danny finally admitted to her and Tucker being his 'closest friends'. It was sometime before the portal incident, and it felt like a milestone because beforehand he only really referred to them as his companions or allies.)

(At the time, he'd looked unsure of himself. Skittish like a stray in the back of an alleyway, almost shy in his own way. It had come out stilted, slow, like an infant taking its first steps, and it would have been endearing if it hadn't been heartbreaking.)

Her parents rear back like she'd struck them, and her mother holds a hand against her chest in aghast. Sam doesn't care, she blinks the sting out of her eyes. "Samantha." Her mother starts.

Sam cuts her off, "I don't care what you have to say, you-- you pricks." she snaps, around her, there are gasps. Belatedly, she realizes she's grown an audience, but again she doesn't care. "Danny might be an asshole, but he cares. And I'd rather be around someone whose mean but cares, than someone whose nice but doesn't."

With that, she whirls on her foot and turns on Bruce Wayne, who has been silent the entire time with a surprised expression on his face. He starts to shake out of it when Sam turns to him, but she doesn't give him the chance to speak. "Enjoy your party." She snarls, and then stalks away.

[bigfatbreak]

Hi I'm new here, and some people recommend me your feralnette au, but when it start? And what the au is about?

the feralnette au starts just after the season 3 finale, somewhat after miracle queen. Reaching a mental breaking point, Marinette can't handle her social life, her grades, being ladybug and being the guardian without giving up one of them. in an act of incredible sacrifice and self sabotage, she cuts herself off from the class to focus more on investigating hawkmoth, and to distance herself from her friends, believing some part of herself is the problem with akumatizations.

After such a change, the Marinette we have is much more jaded and much more tired, and in order to change her reputation of "everyday ladybug," to further distance her civilian persona and her ladybug persona, she begins changing her interactions with people in her daily lives - resorting to violence or sarcasm when in the past she would've been the first to talk things out. (thus, the "feral" part of feralnette)

shit happens. stuff gets wildin. we get a little blasphemous, a little heretical, and a little eldritched. talk about edgy. keep in mind I started this a few years ago (oh god) so some stuff isn't going to align with the new seasons of mlb.

Chapter One

Chapter Two

Chapter Three (ongoing.)

the pacing in the first chapter is a bit funky, as I actually wasn't planning on making it a full fledged comic, but something-something i have no self control lmao.

[drawnfamiliarfaces]

Heroes of Millennium (HoM) AU

Act 1, Omake (Extra): Master of Time - (here)

Act 1: What was left behind. - read here

[tofixtheshadows]

Hello, op! While I do find your reading of Kabru’s self sacrifice and how little he eats really good, im curious why you consider him the deuteragonist? He is a foil to the protagonist yes, but still a supporting character.

I think its pretty clear Marcille is the second most important character in DM, and her story has much more weight than Kabru’s.

Hello! I've mentioned this on my blog before, but I actually consider Marcille and Kabru to both be deuteragonists to Laios's protagonist. I just wasn't talking about Marcille in that post.

Technically this term is meant to be used in playwriting, and the Greek tradition at that, so I'm playing a little loosey goosey with semantics and my argument would sound different if I were writing an academic paper. But this is tumblr dot edu and I'm trying to get a point across on my little blog, and part of the idea of a deuteragonist is that they support the protagonist. "Secondary main character who has their own importance in the narrative while bolstering the protagonist" works well enough for my purposes.

I think Marcille and Kabru are both playing specific and complementary roles to Laios. Marcille is at his side, facilitating the A plot: namely, "save Falin", which requires Marcille's magic, and then Marcille's method of resurrection ropes Thistle in, so the continuation of "save Falin" necessitates confronting the Dungeon Lord and conquering the dungeon (the B plot).

Kabru only intersects with Laios, but he is tied from the beginning to the B plot- and with dragging basically everyone else into it. Actually, the fact that he brings in this extremely loaded B plot despite only having brief face time with the protagonist should be seen as significant. In a sense, Kabru represents the surface world and all its concerns.

Before I talk about that more, I want to continue with the complementary line of thinking and point out that Kabru and Marcille have very similar background motivations.

Laios wants to save his sister first and foremost, and it's only along the way that he starts to consider what he'd do with the responsibility of Dungeon Lord. Coming to the conclusion that he wants to create a home for disparate peoples to live in harmony has connective tissue to both Kabru and Marcille's desires.

Marcille is the only one in their party who starts out with a greater motivation other than saving Falin (Izutsumi is a special case, but she's ultimately along for the ride), one that she keeps hidden for a long time. Because she is a mage, and because she is driven by a very personal tragedy (my dad died; I am terrified of outliving everyone), she is looking for a miracle to bring the different races closer together.

Kabru comes from a background of personal tragedy as well, but it's also a far greater, more political tragedy than just the death of a parent. It is not a coincidence that Kabru is a brown boy from an exploited region that suffered despite and because of military intervention from a first-world power, nor that he was adopted by a white woman whose coddling/dehumanization of him represents the paternalistic oversight of these world powers.

Thus, Kabru's motivations are both personal and political: if they, the short-lived races, can finally access the secrets of the dungeons, then not only can they have agency in stopping tragedies like Utaya's, but it will also give them a greater power of self-determination.

Marcille and Kabru have both correctly identified and set themselves against a problem that is greater than saving the life of one girl, greater even than sealing this one dungeon.

Despite Marcille's hopes, there is no grand magic solution to this. Only small, slow, backbreaking, ordinary solutions, the kind you labor over in kitchens and bedrooms and throne rooms and meeting houses and hearths and negotiation tables. The kind you run a kingdom with.

There is a reason why Dungeon Meshi ends with Marcille and Kabru on either side of Laios's throne.

Okay: back to Kabru (under the cut).

I've talked about this a little before, but I'll reiterate here: I consider Kabru to be the counterweight to the back half of the story. In a very literal sense too, as he pulls the focus up from the depths to the surface not once, but twice. Dungeon Meshi builds itself on the premise that the traditional "dungeon" must function as an actual ecosystem, and the monsters in it are biological actors in that ecosystem and not merely magical obstacles independent of their environment. The first couple dozen chapters are focused on this. Like regular animals, monsters have needs and instincts and unique behaviors, and they can be killed and consumed as part of a food chain.

And then Kabru comes along and he reminds us that humans are also part of their own special ecosystem, with their own needs and instincts and unique behaviors, and that beyond the biological drive of the literal food chain there are also complex social issues influencing these behaviors (like capitalism). Tansu's visit with the governor introduced us to these ideas, but Kabru is the one who carries them.

The way he and his party break down Laios's party also serves an important function. I think most readers are so busy being shocked that Kabru is "so wrong" about our goofy boy Laios that they don't realize that he isn't actually wrong about anything (he's only missing the context of what drives Laios, which he admits to and is part of the reason why he pursues him). We've gotten only Laios's view of things so far, and Laios is pretty tunnel-visioned. The narrative, through Kabru, is telling the reader this is how our protagonist actually comes across to his community.

We like Laios because we are following his story from his inner circle. We know he's naive and struggles with people but that he has a good heart and is ultimately just a big silly guy who won't harm anybody if he can help it. But we only know that because we're seeing him with his inner circle, in his environment. Outside of the dungeon, Laios is anti-social to the point of rudeness; he misreads situations and misjudges people, he acts in ways that cause friction, and he accidentally aligns himself with people who make his whole enterprise look suspicious: a prominent half-foot community leader, a mysterious foreigner literally surrounded by spies, the disgraced daughter of a criminal who now has to shoulder the burden of her father's reputation, and an elf in a land where there are no elves. And they seem to be very good at what they're doing. Yet this whole time, Laios acts as if he doesn't care about profit or taking the kingdom, the only logical reasons why anyone on the Island would gather up such a party and throw themselves into this death pit day after day.

Yeah of course Kabru finds this suspicious and interesting. Of course people don't know what to make of Laios. This all reiterates the question that Zon the orc already raised: What will you do, Laios, if you defeat the Mad Mage? If you gain control of all of this? Can you be a leader? Laios himself doesn't know yet.

This is all necessary context for our protagonist and the journey he has to go on, and it's fittingly brought up by the most socially adept character, who is so concerned with human ecosystems and the bigger picture of the dungeon. There is a reason why Kabru, as a character, is connected to large webs of people as he moves throughout the narrative: his own party, Toshiro's party, the Canaries, the denizens of the first floor of the dungeon.

Kabru is responsible for bringing Toshiro down to Laios's party. Toshiro is not a big mover and shaker in the story itself, but his confrontation with Laios is a huge part of Laios's character arc. His detour down to the lower levels also allows Izutsumi to escape and join Laios's party later.

We also have this very important moment:

It shows the first inkling- to the audience, to Kabru, and to Laios himself- that Laios is willing to do a painful, necessary thing to protect other people, that he won't just allow them to become collateral for his sister/monsters. That he can listen, and that he can assess a situation beyond his personal feelings. Again, fittingly, big-picture-thinker Kabru is the catalyst for this.

And then, not content to leave him as merely a device for Laios's character growth, the focus slingshots back up to the surface, and we follow Kabru.

The Canaries were going to go into the dungeon soon anyway, and they were always going to stir up the crowd in order to lure Thistle to them. Unless Thistle had given up right then and managed to slip away, the story could have very easily ended here:

Falin, immobilized and surrounded by Canaries, would have certainly been killed, and there would have been no way to ever resurrect her. Thistle would have been neutralized. The dungeon would have been taken by the elves, and anyone they could get their hands on would have been imprisoned at best. And maybe the dungeon would have been managed safely ... or maybe something would have gone wrong, and more lives would have been lost. Remember: the Canaries arrived in Utaya one year before the tragedy.

This is a huge moment that changes Laios's life forever, and he doesn't even know it. Kabru single-handedly keeps the story on course by sabotaging the Canaries, and he does it not just for Laios's sake, but for everyone's sake. For his friends and companions in the dungeon and everyone else outside it. Laios is a part of his motivation, a key player in Kabru's hopes, but Kabru has his own desires, his own agenda. He's trying to change the world. In a way, he succeeds. And while the Canaries might wish it were otherwise, as an entity in the narrative they are always anchored to Kabru's character. The two forces collide because of Kabru. The unsealing of the Winged Lion and Marcille's emergency ascension to Dungeon Lord happen indirectly because of Kabru.

While I have talked so much already that I don't want to give a detailed breakdown of it, I do want to mention Kabru's unique interiority as a character. That is to say: we see the inside of Kabru's head more than anyone else. Every character in the main ensemble gets their own moments of inner monologues or fifteen minutes in the limelight, but for Kabru, it's constant. He's always thinking, talking, narrating. His POV chapters always stand out for how first-person they feel compared to most others.

Notably, the only other character I could compare that to is Marcille, specifically during the dungeon rabbit debacle and her ascension afterward, which is when she really takes center stage as a character.

I hope I've explained my reasoning without becoming too insufferable.

To cap off my thoughts with a nod to my original post, I cannot stress enough how significant it is, thematically, that Kabru's relationship with food is the inverse of Laios's. It isn't just that Laios is the main character in a story about cooking monsters and Kabru happens to be his monster-hating foil. The artistic choice to deny the reader the visual of this character ever enjoying food, and only ever putting it in his mouth in situations where it hurts him, in a manga that gives so much attention to eating and the pleasures of meals, cannot be understated.

[von-karmas-a-bitch]

[fadedstarpng]

autistic people when there's collectable things with tv shows with multiple generations of them:

[romanceddawn]

Puzzleshipping: "You gave me your heart, you know..." [Insp.]

❕ Please do not repost to any other sites ❕

[mattodore]

20s vs 30s

[hella1975]

watched saltburn and really fucking liked it actually. day 5937 of realising people on tiktok are just cowards

[flimsy-spine]

Standing inbetween you, and anyone who thinks they can hurt you, is exactly where I wanna be standing.

[goatsghost]

an update on how i draw the wayne kids + some headcanons <3

[werewolfrevenge]

The return of the Casey gifs yipeee!!

[bamsara]

i think my patreons are the best tbh im out here fighting demons, brain damage, car broke, cost of living, price inflation, printer errors, delivery mishaps, rapid onset of media brainrot, inconsistant art style, isolation, the toils and tribulations of living in the rural south, social obligations with financial cost requirement, a cat that actively breaks into plastic bins to chew on stickers and burn out

i am constantly slipping on a bannana peel and patreons are just