im a content creator. im mentally ill. im insane. im a wild animal. im out of melatonin gummies. im normal. im an industry professional. ive never seen a movie in my life. im not going to bite anything. im an amateur. im a homosexual. im illiterate. im going to start an animation company
This is the generation that came of age during WWI and the 1918 flu pandemic. They witnessed their world collapse in the first war that spread around the globe, and they -- in retrospect, optimistically -- called it the "war to end all wars". And that war was a quagmire. The trenches on the Western Front were notoriously awful, unsanitary and cold and wet and teeming with sickness, and bloody battles were fought to gain or lose a few feet of territory, and all because a series of alliances caused one assassination in one unstable area to spiral into a brutal large-scale war fought on the ground by people who mostly had no personal stake in the outcomes and gained nothing from winning.
On some of the worst-hit battlefields, the land is still too toxic for plant growth.
And on the heels of this horrific war, a pandemic struck. It's often referred to as "the Spanish flu" because Spain was neutral in the war, and so was the first country to admit that their people were dropping like flies. By the time the warring countries were willing to face the disease, it was far too late to contain it.
Anywhere from 50 to 100 million people worldwide would die from it. 675,000 were in the US.
But once it was finally contained -- anywhere from a year to a year and a half later -- the 20s had begun, and they began roaring.
Hedonism abounded. Alcohol flowed like water in spite of Prohibition. Music and dance and art fluorished. It was the age of Dadaism, an artistic movement of surrealism, absurdism, and abstraction. Women's skirts rose and haircuts shortened in a flamboyant rejection of the social norms of the previous decades. It was a time of glitter and glamour and jazz and flash, and (save for the art that was made) it was mostly skin deep.
Everyone stumbled out of the war and pandemic desperate to forget the horrific things they'd seen and done and all that they'd lost, and lost for nothing.
Reality seemed so pointless. It's not a coincidence that the two codifiers of the fantasy genre -- J.R.R. Tolkein and C.S. Lewis -- both fought in WWI. In fact, they were school friends before the war, and were the only two of their group to return home. Tolkein wanted to rewrite the history of Europe, while Lewis wanted to rebuild faith in the escape from the world.
(There's a reason Frodo goes into the West: physically, he returned to the Shire, but mentally, he never came back from Mordor, and he couldn't live his whole life there. There's a reason three of the Pevensies can never let go of Narnia: in Narnia, unlike reality, the things they did and fought for and believed in actually mattered, were actually worth the price they paid.)
It's also no coincidence that many of the famous artists of the time either killed themselves outright or let their vices do them in. The 20s roared both in spite of and because of the despair of the Lost Generation.
It was also the era of the Harlem Renaissance, which came to the feelings of alienation and disillusionment from a different direction: there was a large migration of Black people from the South, many of whom moved to the Harlem neighborhood of New York City. Obviously, the sense of alienation wasn't new to Black people in America, but the cultural shift allowed for them to publicly express it in the arts and literature in ways that hadn't been open to them before.
There was also horrific -- and state-sanctioned -- violence perpetrated against Black communities in this time, furthering the anger and despair and sense that society had not only failed them but had never even given them a chance. The term at the time was shell-shock, but now we know it as PTSD, and the vast majority of the people who came of age between 1910 and 1920 suffered from it, from one source or another.
It was an entire generation of trauma, and then the stock market crashed in 1929. Helpless, angry, impotent in the face of all that had seemingly destroyed the world for them, on the verge of utter despair, it was also a generation vulnerable to despotism. In the wake of all this chaos -- god, please, someone just take control of all this mess and set it right.
Sometimes the person who took over was decent and played by the rules and at least attempted to do the right thing. Other times, they were self-serving and hateful and committed to subjugating anyone who didn't fit their mold.
There are a lot of parallels to now, but we have something they didn't, and that's the fact that they did it first.
We know what their mistakes and sins were. We have the gift of history to see the whole picture and what worked and what failed. We as a species have walked this road before, and we weren't any happier or stronger or smarter about it the first time.
I think I want to reiterate that point: the Lost Generation were no stronger or weaker than Millennials and Gen Z are today. Plenty of both have risen up and fought back, and plenty have stumbled and been crushed under the weight. Plenty have been horribly abused by the people who were supposed to lead them, and plenty have done the abusing. Plenty of great art has been made by both, and plenty of it is escapist fantasy or scathing criticism or inspiring optimism or despairing pessimism.
We find humor in much the same things, because when reality is a mess, both the absurd and the self-deprecating become hilarious in comparison. There's a reason modern audiences don't find Seinfeld as funny as Gen X does, and many older audiences find modern comedy impenetrable and baffling -- they're different kinds of humor from different realities.
I think my point accumulates into this: in spite of how awful and hopeless and pointless everything feels, we do have a guide. We've been through this before, as a culture, and even though all of them are gone now, we have their words and art and memory to help us. We know now what they didn't then: there is a future.
The path forward is a hard one, and the only thing that makes it easier is human connection. Art -- in the most base sense, anything that is an expression of emotion and thought into a medium that allows it to be shared -- is the best and most enduring vehicle for that connection, to reach not just loved ones but people a thousand miles or a hundred years away.
So don't bottle it up. Don't pretend to be okay when you're not. Paint it, sculpt it, write it, play it, sing it, scream it, hell, you can even meme it out into the void. Whatever it takes to reach someone else -- not just for yourself but for others, both present and future.
Because, to quote the inimitable Terry Pratchett, "in a hundred years we'll all be dead, but here and now, we are alive."
@andthepeople said smart din with glasses and an old man sweater and my brain immediately barfed up a whole AU where Din is the countries leading expert on cults who always brings his kid to class, and Luke has just found out that apparently he has magical powers and also his dead (?) father used to be part of this ancient group called 'Jedi' so naturally, in an attempt to find out what the fuck is going on, he goes and sneaks into one of Din’s lectures - only problem is that a) the stuff Din teaches about the Jedi is all wrong and not at all what uncle Ben taught Luke and b) Luke is 110% sure that, even though Din doesn’t seem to believe in the force at all, the kid he has strapped to his chest is in fact just as force sensitive as Luke
part of the dinluke professor au - Part 1 | Part 2 | Part 3 | Fic
Din reference from this absolutely legendary picture.
I think, for me at least, what makes Sky such a brilliant example of video game flight (other than the amount of freedom) is that you can see that it takes effort. When the skykids flap their capes, you can see the downwards force, how they use there arms for extra momentum and that their heads bob a little as they move upwards.
When you are turning, you can see the edges of their capes twist and bend depending on which side needs to catch more of the air. When you dive they squeeze their arms in tight and pull their cape close even though you can see the wind trying to pull it open again. If you come out of a steep dive you can feel the wind push you back up.
Even something as simple as controlling your flight while slowly descending, you can see the edges being forced forwards to create a parachute-like shape while also moving to determine which direction you go.
Obviously they have researched flight a lot and it shows, and the way that they have translated that to a fabric based material is really unique but completely believable. And I think that's something you don't see too often with in game flight as its easy for it to end up looking effortless and perfect.
well, WE DID IT FOLKS!! that's a wrap on femslashfeb2021, also really digging how it very neatly fits into 4 rows like a chocolate block. anyway, thank you for joining me on this journey this year!! here's the recap!💕
Friendly reminder that if you want to create things for your selfship(s), self insert(s) and/or f/o(s) then please do so, regardless of your skill.
While I could repeat the usual "you can't improve without practice" line (which is true! please don't give up!), I think you should always keep in mind that skill level =/= worth.
You're allowed to write fics even if you "can't write". You're allowed to draw even if you "can't draw". Anything you create has worth because you made it, and every piece is a step towards improvement. Anything made with love is important and valued. Also your f/o would be absolutely besotted by the fact that you want to create things because of your love for them!
Remember to support fellow selfshippers creations (reblog fics, drawings, mood boards, etc!) and be sure to uplift each other. I'm proud of you all. ♡
okay, i think it's completely fine for some people to be excited at the prospect of canon timkon now, but some of you are taking it too far.
because i've seen people saying things like "no one cares about bernard" or "if it's not timkon, we don't want it" and it's actually disgusting? you do NOT speak for other tim or even timkon fans and i'm begging you to stop diminishing something that means so much to so many lgbtq fans.
this is SO much more than just "a step towards timkon", lgbtq fans can finally see themselves represented in a popular character and that's huge. to pretend the only reason tim should be out is for your own shipping purposes is incredibly insensitive.
it's messed up that some of you only care about your ship and will go as far as to complain about this whole thing because he didn't end up with who you wanted. the point isn't which boy he went out with it's that he went out with a boy.
and like i said before, it's fine if you are excited at the idea of your ship, but please stop treating this all like that's the only thing that fans want or care about
literally no matter what happens on Thursday, half of us will be deemed clowns to the extreme but the truth is that we are all clowns for caring so much about this stupid fucking show in the first place
foolish during this weird lore arc be like. i am working for my dad at mcpuffys. i am an architect. tubbo underscore (who i betrayed) is now my coworker. he is having a row with his husband who is working for my other boss’s archenemy. i think my other boss wants to fuck a living corpse. i wonder if my mothers therapy practice is still open. there is tnt underneath my workplace. i am bullying two teenage fathers and they intimidate me. i have 2 children myself.
I watch a lot of TV. Probably too much. And I’ve seen characters beaten to their knees before, sometimes even with collars. And yeah, there’s usually someone standing over them, and it’s been a woman sometimes. The kind of scene we got in episode 5 of Loki is not new ground.
But here’s the thing. In EVERY OTHER SCENE I can remember like this, the person kneeling is the hero. They’ve been brought down, fully humbled before the sneering villain, and in a few minutes something will happen to get them back on their feet again. It’s usually a tense moment, a “what if they break?” that makes you want the hero to win. You aren’t rooting for, or even liking in some cases, the person standing. You’re cheering for the person on their knees.
This doesn’t seem to be the case with the Loki show. Yes, the viewers may be rooting for Loki, but there’s no hatred for Sif there. She’s not proved herself to be a cold, heartless villain, ruthlessly pounding the hero until all he can do is kneel at her feet.
Except…she did kind of do that. But it isn’t treated as something bad. It’s treated more as something Loki deserved, in my opinion. The show wants us to feel like he deserved to get repeatedly beaten up and told horrible things, just for cutting off a lock of Sif’s hair. I’ll grant, it’s peanuts compared to what happened to him in the mythology. But it’s still bad. Especially since they had him acknowledge it, repeat her cruel words back. They’re playing it off as if Loki is still the villain by himself, and is only good because of other people- Mobius, mostly, but Sif is part of that.
That’s not the way Loki’s character is. In the comics particularly, his biggest arcs are always about reinventing the labels given to him, changing “villain” into something good, something he can use, and doing it by himself. Yes, there’s outside influence, but ultimately Loki is the one who decided to change.
The show is not letting him do that. The show is portraying him as a stubborn jackass who refuses to change until other people show him the light- either with psychological torture presented as therapy, or with beating him up a bunch of times until he gives in. The show and its characters are forcing Loki to become good- they aren’t showing him doing it by himself. He is not becoming one of the good guys, he’s being essentially enslaved by them, and the show is passing it off as somehow all that good influence finally rubbed off on Loki’s cold, villainous heart. That’s why him betraying Mobius was shown as so bad even though Loki barely knew him and had been psychologically tortured by him- Mobius is written as a character who can choose to be good, and Loki is written as a character who must be forced to be good.
And something about an entire show revolving around an independent character being treated as a villain, literally enslaved by the “good guys” (back when the show still wanted us to think the TVA weren’t shady as all hell), beaten to his knees with a collar around his neck until he accepts that he deserves to be alone because he isn’t “good” like everybody else…that doesn’t go down right for me.
The TVA being presented in not just a neutral but often reliable light is something I thought would change once Loki literally called out their propaganda and Sylvie called them fascists, but, for some reason the authoritarian genocidalists are not being presented as a bad thing and it irks me too.
It's especially weird because of the way what Loki claims to have wanted by making choices for people and what Mobius claims the TVA do ARE THE EXACT SAME THINGS, except Loki, until the show, hadn't done that of his own volition and was being tortured during the invasion and is treated terribly for something he didn't even succeed in doing, while the TVA successfully erase events on a mass scale but are presented as having a higher (or at best, - equal) moral ground.
The exact same thing was done in Ragnarok where Loki's "turning point" from a tricksy villainous scoundrel happened because Thor left him frying on the ground and gave him a pep talk filled with lies and general slander about how he could be better - and people see that as good because Thor is framed as a hero, and it's because instead of accepting Loki is a complex character they take what the narrative tells at face value and that is that Loki fights the protagonist(s) so he's bad.
I personally don't like the narrative pushing a character that is canonically an abuse victim and attempted suicide and was tortured right after as someone who needs fixing because he's lusting for power and needs it to gain a sense of control during a retcon which is occurring for the sake of calling him a complete bad guy who needs to change (probably because no actual original character development could be thought of?) after he was just confirmed as queer and colloquially (i assume) called a narcissist because of twisted love.
That he deserves to be alone was presented neutrally as a joke even as he was repeatedly getting beaten to the ground, and then both people he could call friends were removed from his immediate vicinity right after.
Loki isn't being presented as a character that has done a huge mix of good and bad in the movies, he's being presented as an oft incompetent idiot that deserves what he gets because he shouldn't have run away from captors, or he cut Sif's hair, or he killed his mother, or he dared to think he had any importance or could do something good, because the truth is he's an evil lying scourge.
"But maybe," Mobius says, "Maybe he wants to mix it up. Sometimes you get tired of playing the same part. Is that possible? He can change?" And everyone's already forgotten that moments before the mission Mobius said to Loki's face that the TVA has pruned a lot of Loki variants because he's so nice! look! he has hope in him when no one else does! It's also easy to forget the "and hey, if it doesn't work, I'll delete him myself," right after because the guy was smiling through it and the scene is followed by Loki really badly trying to explain the logic of being a trickster who everyone knows is a trickster.
A lot of people payed more attention in Ragnarok than to the other Thor movies so it's not a new retcon and people seem fine with the extremely strange take that 'loki is bad but he can do good sometimes,' because the character is more animated and acts foolish and that's generally more fun for comedy, which is fair for people to prefer imo, people find different things entertaining.
But I do solidly hope the show doesn't go that way though and takes a side with Loki on the narrative stance eventually because I've seen a lot of people who just. miss that the TVA's concept is bad. And those who think they're "reforming" Loki. As if the guy needs anything but a break at this point lmao he only got away from Thanos like 2 days ago please just let him rest for a bit he's a fail villain and it's cringe to have your supposed 1st open queer character get beaten to a pulp by Sif and then put wack sexualizing shots for it too :/
it's like the show itself is trying to sell the angle of "Loki is a villain" and I'm a clown who is still wanting that to be intentional because if it is? It could be amazing and playing with how different parties are framed would be s p e c t a cu l ar and could encourage people to reassess the hero coding in other movies including ones Loki was previously in - but we're reaching the last two episodes and I don't feel like that'll happen.
I feel like even if Loki does reach the end of the show as a transformed person it'll be done leaving the audience with "perhaps you're not so bad after all, Loki," and then also give credit to Mobius or Sylvie or whoever else was involved, simply because as even of yet Loki hasn't taken on a lead role in the show. I'd argue he hasn't really contributed anything worthwhile to plot either. As you've said, he's being shown as someone who needs to change but isn't really motivated to. Aw man they better not make romantic love the reason he wants to change.
do people who think talia would be a typical oppressive brown mother just want to ignore the thirty years of comics where she was portrayed as someone loving and kind who valued freedom and safety from the restricted environment of her home and from the havoc that her father’s and bruce’s endeavors wrecked upon her life to the point that she gave up her child to a normal family and walked away from her father and bruce to lead a normal life herself, to ignore the fact that she aspired to bruce bc he was noble and good and represented freedom for her, not bc he was the perfect specimen her father was vying for as an heir or bc she cared about him being the future of the world. like did we forget about that talia all of a sudden