there’s a question to be asked i think about to what extent “getting out” can be conflated with “being saved” in this show, and what freedom actually means to any of these characters.
like you can argue that shiv saved ken by voting against him on gojo, but what if your intent behind saving someone is to inflict a worse punishment than if you’d just left them trapped? can a child weaned on poison survive on milk, or are you just sentencing them to a death by inches, starved of the only thing they know? and if you save someone specifically because you know that being saved is the worst thing that can happen to them, is that kindness or cruelty? at what point does a good thing become a malicious act?
and you can say that roman is finally free, but what exactly is he free from? the company? his father? does unlocking a cage mean saving a dog, or are you allowing him out on the street knowing there’s a kill shelter nearby? if the driving anxiety behind roman is that he’s an idiot and a failure—that he’ll never amount to anything, and trying will only lead to pain—and he’s finally cut loose once all of those anxieties have crystallized into cold hard fact in his mind, what has he actually escaped from? if the cage is in your mind, is it even possible for somebody else to unlock it?
the fundamental truth of a tragedy is that even being saved can be a death sentence, if the characters are incapable of escaping the thing doing them the most harm (themselves and their childhoods)
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sorry, i really don’t get you because you say you draw tsumugi with the body you do because she ‘seems like the type of girl who would have a good body (weird that you call that kind of ‘no fat but on the boobs sex doll body’ good but okay?) but covers it up’ and then don’t draw her covered up.
like you draw her in tiny skirts with her ass hanging out and shit constantly, in every one of your drawings is her body emphasised and on show and i just want to know what your fucking deal is? not only does it feel really mischaracterising for tsumugi, but it’s just really weird and gross. also you’ve literally never drawn a single fat character, all your characters are stick thin with different boob and hip sizes.
are we seriously doing this again. its ok to not like my art. its ok to not have it be to your tastes. its ok to disagree with my portrayals. it doesnt need to be much deeper than that
your rephrasing of my quotes is misleading though. ive re-emphasized the point more clearly before, but my points are based on societal standards and expectations, not my own personal preferences. big boobs small waist is the body type that gets ogled at the most, stereotypically speaking, so it makes it fun for her to have that body as her personality and the way she carries herself isnt whats commonly associated with it.
with my depictions i try to take context into question. i dont just give the character a body or appearance that i like, i try to think how i can translate their character along with changing their figure (if at all). of course, i am not perfect, my stuff will not appeal to everyone and my takes might be disagreeable, and thats ok.
as for my tsumugi depiction; i dont know what you want me to say. tsumugi wears a button-up shirt with pants and a belt in canon. in my femstars version i simply change the pants into a pencil skirt. the belt is synched around the waist. its gonna make her waist look smaller than it is, as the belt is highlighting that area and creating contrast. this is a common way to dress
and i honestly dont think i draw her in revealing clothes too often? like yea it happens. duh. and ive drawn some horny and suggestive art with her to add. but i do not think i go out of my way to flaunt her body or have her wear as little as humanly possible (which i dont even think would be an issue. an artist having fun is not the end of the world). i mainly do it when its, again, a suggestive drawing, or when its been for a joke. its not really meant to be anything deep
sure, maybe she has her cleavage out every once in a while, but thats just. Her having boobs. i give natsume revealing clothes just as, if not more often than i do tsumugi, but people dont seem to care/notice as shes rather curveless. and idol clothes are separate from personal clothes that theyd casually wear because its what they enjoy, and its the idol clothes that tend to have that more "attractive" tinge to them
her body isnt the focal point of my art very often either?? like if ur just staring at her boobs in every single one of my drawings atp thats on u
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thinking about how Spider was neteyam's big brother. losing my mind. ripping out my hair.
was 'teyam scared of storms or the dark? did he confide these "childish" fears to his big brother? did he get shy with all the attention he got in the village? did he hold Spi's hand when he got nervous?
did Spi have habits with 'teyam like 'teyam had with lo'ak? did Spi mess with his hair or reach for his shoulder or cuff his neck?
did Spi ever worry for 'teyam after he "stepped up" and became the Big Brother when the humans returned? did he worry something would happen to him? did he want to protect him despite being a human? was he proud? did his pride outweigh his fear?
did he think about 'teyam after he was taken? did he wonder where he was and if he was safe?
what was Spi thinking when he saw the bullet hole in his baby brother's back? did he freeze when he saw the blood, when he realized he failed to protect him?
what was 'teyam thinking? when he looked to Spi, did he want him to be the big brother again, did he want to stop being brave and let Spi do it? did he want to say something?
I have so many questions. I don't think my heart could take the answers.
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I can't stop laughing over these panels from DC #565 out of context where Jason is making out with his gf and having a great time, while Bruce is back in the Batcave staring sadly at a cat-shaped stalagmite because Selina wouldn't hang out with him LMFAOOOO
Pre-Crisis was so fuckin unintentionally hilarious. And context honestly just makes it better, because Jason was annoyed that Bruce would get all mooney over Selina, so figured "yo fuck this? gonna go hang with my girl then" and then Selina starts giving Bruce the cold shoulder so he's just left all lonely and pathetic I love it dkdjejdldks
(Jason and Bruce get over themselves pretty quick and go back to being the dynamic duo, not to worry lol)
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PJO & Palestine pt. 2
This is going to unpack some bullshit I've seen about Rick Riordan. For pt. 1 about why "boycotting Disney" is not actually the thing you need to be doing right now, go here.
Imma try to keep it brief this time <3
In addition to the misleading info about Disney as a boycott target, I've seen some ridiculously facile takes about boycotting the show because of Rick Riordan.
As far as I can tell, the drama stems mostly from this blog post, where he shares his (fairly tepid but still principled) view of Palestine and Israel.
Here are some key takeaways:
The blog post is from Oct 17, 2023. Only ten days into the genocide, and with plenty of attention still lingering on Oct 7 worldwide. As far as I know, he hasn't shared any updated reactions
Should he? Maybe. Here's what he has to say about it in the blog post:
He goes on to talk about having readers in both Israel & Palestine:
Maybe you think he should pick a side. Maybe you're sick of both-sideism and if you see one more media take equating Israeli grief to Palestinian grief during a motherfucking genocide you will launch yourself into the sun. Rick goes on:
I don't know what you were expecting from a children's author whose overarching theme is, "You might think you know who the monsters are, but be careful; black-and-white thinking like that reduces us all."
[SPOILERS for non book readers] In PJO, Percy ultimately agrees with Luke that the system is unjust and can't remain as it is. Luke's willingness to sacrifice the lives of their friends is the thing he can't support.
The series deeply explores questions of monsters vs. victims, how our circumstances shape us, institutional injustice...
I get the anger when people, especially celebrities and the media, use calls for nuance to avoid taking a stand. I don't think it's accurate to say that's what's happening here.
I said I'd keep this short and I've obviously failed, so let's get to the most damning part of Rick's blog post:
This is what has people calling him a Zionist. And do I kinda hate it? Yeah, I do. That line "security and support" is propaganda that Israel has spent 75+ years feeding into the global media machine. I also hate that the overwhelmingly pathetic response of most public figures has conditioned me to be impressed by breadcrumbs like 'Palestine should also be secure and supported and free.'
So there you have it. Rick's opinions from 10 days into what has become a 100+ day genocide.
Maybe this all sounds unforgivably centrist to you, and that's your right. You don't have to engage with his stories. Approaching content with an eye to the author's real positions and attitudes is a healthy way to interpret media critically.
However, I'd really like people to remember two things:
This is not a JKR situation. Watching the show does not give money to someone who actively uses their platform to spread hate.
If this is about your own media purity, I have bad news for you. Literally none of your faves are perfect, and neither are you. Trying to only interact with un-cancellable media is futile, discourse-killing, and self-absorbed at a time when there are more important things we should be doing.
Ultimately, the choice of whether to engage with content from someone whose views you don't agree with is your own. You get to decide where to draw that line.
I, personally, can respect a lot of what Rick says here. He's a children's author using his platform to speak to children. He has his eye on the long game. He still emphatically argues for a free Palestine.
There have been other betrayals from other artists that I couldn't tolerate. It's a personal choice.
So please, stop shaming people for watching this silly little show. Stop trying to police how others engage with media that isn't hurting anyone.
There's work to be done.
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The Great Notes App Exodus: Half-Dead and Still Kicking
The thing is, Jason’s been a ghost for a while, okay? Six whole months, and it’s been a goddamn adjustment, being capable of floating through walls and falling through furniture if he’s not careful, if he’s not concentrating. He goes unseen and unheard in a manor too full of grieving to only be residence of two people - Alfred keeps his room tidy and untouched, as if it’s a shrine to keep care of, and Bruce is…
Jason is, was, Robin, so he can’t quite help himself from following in Batman’s shadow as the man patrols, more vicious, more brutal than Jason has ever seen him. He takes more risks, gets injured more often - and it’s terrifying, the way Batman grieves, as if trying to follow him into the grave. So Jason follows, unbeating heart in his throat, and only relaxes again when Bruce is safe in the manor, sleeping off whatever injuries he got during the night.
He can’t interact with the world, but he can watch the shades of past residents going about their lives, and he learns things from doing this even as he fears becoming them one day, mindlessly replaying a life long passed. He can snoop and explore without worry for being caught, and if he ever gets bored he can practice flying (so much harder than it seems - he’s careful never to go too high, too worried that he won’t be able to come back down again, even with the ceaseless curiosity in the back of his mind wondering - just how far can I go? Beyond the sky? Could he touch the stars, if he wanted?) and when everything is terrible, when the memories of his death, his last few hours of life, haunt him, when he is drowning in his own head, he finds distractions; the way the air currents sometimes seem to react to him, trying to move things like ghosts do in those terrible movies, chattering to whoever is around and pretending they can hear him, finding mysteries to solve (what’s up with that camera kid, anyway? He’d never noticed him before…) and trying to read books in the library through sheer force of will, usually ending up just reciting the parts he knows.
(Two months and a bit in to this whole “ghost” thing, he finds out the deal with the camera kid. Jason can only be relieved because, kid’s got a point - and Bruce seems to do better with someone to protect, to teach, to watch over.
He’s not practically tearing people apart with his bare hands anymore. He’s not taking hits he should have been able to avoid anymore. He’s not lurking at the edge of rooftops anymore, staring at the ground as if contemplating how far away it is.)
And Tim… he’s weird, but brilliant, and Jason feels a little protective of him. Follows him whenever he goes out, sharp eyes watching his back regardless of whether he can protect it or not (and maybe it’s his imagination, but the world seems more real when he’s watching over Tim, closer and present in a way he can almost feel, as if he could actually affect the world, if he just tried hard enough - if he just needed to desperately enough).
And then, six months after his-… after this ghost thing started, something… changes.
Something Happens, and he can almost taste the strange Knowing - something, somewhere, has gone wrong, or perhaps right, and the ripples extend beyond the event, slipping into each corner of the universe with the subtlety of a truck, and yet somehow unnoticed.
The ghosts notice. Pale shades lift their heads, existing outside of their own memories for the first time in an age - and Jason, who is new, who is Robin, who lived in Gotham where all things become possible, is hit by the wave of Something Happening Elsewhere Rippling Out and wakes up in a box.
In a coffin.
(But Jason has been a ghost for six months, and the pain of living again is enough to reach for the existence of being a ghost, and by the time he has sorted himself out and half-clawed, half-floated his way out of his grave (again), he doesn’t expect himself to be anything but what he has been for the past six months.)
(And then, of course, he discovers he can interact with the world if he concentrates, if he wants it enough, and he assumes that Whatever That Was made him a stronger ghost.
It’s not an unfair assessment. Incorrect, but not beyond reason.
Why would he think he came back to life, anyway? That’s a bit far-fetched, really.)
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