Lines from RWRB that made me laugh out loud/inadvertently snort tea up my nose
Chapter 10
“I can see why y’all had to marry your fucking cousins”
Not a funny line but 🥹 “I want you—” “Then fucking have me”
Alex knows he’s going to love this stubborn shithead forever
“I wasn’t the one who stormed the palace in a fit of pique”
“Very Mr Darcy brooding at Pemberley”
“Diaz, you insane, hopeless romantic little shit”
“Keep moving you wastrel”
@estrellami-1
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I'm enjoying GAP just as much as I hoped I would, and WAY more than I expected to. I thought I'd be grading on a curve because yay lesbians, but I don't have to do that at all. The characters are all interesting and being well fleshed out(except cardboard villain grandmother, but I'm starting to trust this show and think she'll eventually get at least a somewhat sympathetic backstory). The dialogue is genuinely clever and the humor effective; I spend a lot of time smiling and laughing and not because of cringe. Sam and Mon's relationship makes sense. I love that Sam isn't who Mon hoped she would be, but, with Mon's influence, Sam could become that person. I know it's a tad cliché, the whole idea that the love of a good woman can make you better, but idk, it feels different because they're both women. Sam has been trampled upon by the patriarchy(ironically and depressingly coming from her grandmother, who likely was also trampled upon and is just doing what she's been conditioned to do). Her flaws are completely understandable, and don't feel like they come from who she fundamentally is. I think she has a good heart but has just been put in an extremely difficult position and is handling it as best she can. I would normally be annoyed by one person being kind of an asshole when it comes to flirting, but it's obvious that that's just because she doesn't even fully understand her feelings, and is likely suppressing any understanding of them because she knows she'd never be able to act upon them.
Mon is a very sweet and intelligent person who might seem like a bit of a Mary Sue, except that she has this weird obsession with Sam that's motivated her for the last twelve years, an obsession that inherently makes her a little awkward and silly, which I think was quite the wise move. It doesn't feel like the creators are trying to make her perfect, which is good, because that's the downfall of many main characters.
Both of them are flawed, but both of them are trying their best. And they feel like they would work together. Mon's sweetness and devotion could be SO healing for Sam's trauma induced thorniness. And the love Sam will eventually feel for Mon will give her the bravery she needs to stand up to her grandmother. To fight to live the life she truly wants to live. And I think that's beautiful.
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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.
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lonely
[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”
The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”
The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"
The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."
The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"
The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"
The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"
The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."
The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]
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Not to be That Guy but like.
Am I the only one that can't stop thinking about how Tianlang-Jun says about Luo Binghe that he pretends to be cold-hearted like his mother. The hint of fondness there, the heartache in that utterance.
Like it drives me absolutely insane. Imagining her putting on a front of strength, cold and driven and unrelenting. Why does TLJ say that about her. Did she secretly look for solutions that meant reconciling with demons instead of hurting them when her sect wasn't looking? (I wonder this because I feel like his weird fondness for SQQ would lowkey track if it's connected to the woman he once loved.) Did he mean that she was tasked with basically assassinating him and she fell in love with him instead (re: failed step one)? Did he mean that she was fond and doting in her own way (e.g. conceding he was attractive, paying for his exploits and humoring him)? Did he mean that, like LBH, she thought that power would be the thing to protect her--and that it was disguising a person who was deeply and privately wounded? All four????? I don't need sleep I need a n s w e r s
Did she know about the Huanhua Palace Master's skeevy ass intentions before she met TLJ? Or did those only come to significant light after she fell in love with TLJ? Is that why she never anticipated that level of betrayal, because initially she had no intention of being with anyone romantically? And HHPM just assumed she would be under his thumb forever?? Was she furious at her own indiscretion or did she try to use the pregnancy as a bargaining chip, a way to try to stop the immortals of Cang Qiong Mountain from attacking TLJ (plus the bonus of marriage entrapment no takesies backsies this is where LBH gets it from)? Did she try to use that claim on her to dissuade HHPM from his covetous advances, framing herself as tainted so that she could finally escape? Did she dream of a life by TLJ's side, far away from Cang Qiong Mountain?
Like. Literally every single permutation of what this could mean guts me to hell. Do you ever just cry about tianxi because I--[loud bawling noises]
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