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#hopeful yet dead
animesketch-es · 1 month
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The brainrot is brainrotting 🤕
Smiling Critters infection/apocalypse AU I don’t actually have a name for yet because I haven’t thought that far. I just thought I’d draw what I had in mind before it disappeared never to be seen again… 🕊️
The general premise is that after the outbreak, the SC formed their own survival group based in DogDay’s house and were doing well for themselves until CatNap suddenly got infected. Now it’s a mix of apocalypse survival and trying to find a cure + interpersonal drama because of course
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jakeperalta · 3 months
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THE HUNGER GAMES APPRECATION WEEK → day 7: free choice
The Tributes maintaining their compassion and humanity (or, being more than just a piece in the Capitol's games)
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finally colored that Eddie scribble <3 rough day p.2!
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yourfavoritebutler · 5 days
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reblog if:
- you’re dead
- heard the news that you’re dead
- no one had much nice to say
- they never really liked you anyway
- taken from a hospital bed
- think its grand to take a pistol by the hand
- think its great to be dead
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strrwbrrryjam · 22 days
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either treat abigail, molly, mary, with respect or die looking down the barrel of my gun
i'm being one hundred percent serious when i say i'm tired of people disregarding and disrespecting them to uplift their queer ships. it's bad and it needs to stop.
like i just read a jovier post where they have john cheat on abigail?what the fuck man.
his love for her is unwavering and he is incredibly committed to abigail, he's so devoted to her, working so hard to create a life for the three of them. john is willing to lay down his life to protect his family, and he does so, rescuing them is his whole motive for seeking redemption in the first game. he would never disrespect abigail like that, he's learned and grown, he's no longer the shithead deadbeat dad when jack was young, he loves her.
arthur still so clearly loves mary, his love remaining steadfast and unwavering even years after their broken engagement, it's so obvious on his face when he looks at her. his heart still yearns for her that when she calls, he comes, even if he's a little miffed at the start, he still goes. honestly, i believe if arthur didn't have other commitments in the gang, he would have run away with her when she asked him.
and while molly and dutch's relationship is tumultuous and dutch absolutely does not deserve her, molly is so important to dutch's character and the story as a whole. molly's loyalty to dutch highlights dutch's charisma and the ways dutch inspires loyalty throughout the gang. her existence also depicts the internal conflicts dutch has and the moral uncertainty of dutch's actions. her presence within the gang and relationship with dutch represents the internal strife and conflicts within the gang, highlighting the human cost of their choices and the sacrifices that are made in pursuit of a false freedom in the old west.
and let's not even mention the treatment eliza, annabelle, bessie and even susan receive, which is hardly any mention at all.
eliza, annabelle and bessie each play small but significant parts to not just their respective partners, but to the story as a whole.
eliza shapes arthu’rs past and motivations. her tragic death, along with their son, isaac, has a large impact on arthur and his present relationships, such as abigail and jack. their memory serves as a driving force of arthurs path to redemption.
annabelles fate fuels dutch's vendetta against colm and the o'driscolls, and adds personal stakes to the gang as a reminder of the consequences of their life as an outlaw.
and bessie, oh bessie, not only does she add depth to hosea and represents hosea's wishes for a more peaceful life, but hosea loves her so much that when coming to terms with his inevitable death, whether by gunshot or sickness, the mere chance of reuniting with bessie brings him so much comfort, despite the fact that he fears that bessie lives above, while hosea will be traveling down below.
susan is a very controversial character due to her treatment of the women in the gang and her murdering molly, who did not betray the gang, both of which i do not condone, but it is impossible to deny her importance to the story. not only was, from what we know, dutch's first woman, coming before annabelle and molly, she also served an important role in the gang, acting as an authority figure, maintaining order and discipline within the gang where tensions often rise. she serves as an emotional anchor, which is incredibly important when death is constantly looming over you and adds so much depth and complexity to the story of rdr2.
when you ignore and disregard these characters you are undermining the depth and the richness of the story, each of these characters are important to the story. if you wish to truly appreciate the storytelling of rdr2, it is important to recognize and respect each of these characters.
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fandombrainrotting · 2 years
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This is a perfect time to introduce Kaminari's new awakening: the defibrillator.
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Summer's ending...
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woodlnds · 9 months
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tin-can-iron-man · 1 year
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I'm just gonna say it again real quick:
Yes!! Iron Man is a tragedy! It has and always has been since the very first appearance in 1963 which describes itself, Tony's life, and legacy, as such.
Tony causes most of his issues himself, he is his biggest villain, a majority of his rogues gallery are caricatures of the worst versions of himself brought to life (when they're not just being racist cuz...60s...). The worst thing about being Tony Stark is that he can't stop being Tony Stark (he tried!!) That is the point.
The majority of pain Tony goes through, is pain he inflicts on himself, whether intentionally or inadvertently. That is the point.
He is not A villain (at least. Not usually. There are...some rough moments and arcs that are. Not great. As there is with any character as old as he is). But he is his own main antagonist.
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chronologiical · 7 months
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a little meetup
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thebonejunky · 1 year
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GIDEON THINKS THAT HARROW ONLY LOVES THE BODY AND IS INCAPABLE OF LOVING HER AS WELL. BUT HARROW DID NOT FALL APART AT THE ABSENCE OF THE BODY. SHE STRAYED FAR FROM IT, SHE DID NOT FALTER WHEN THE GHOST DISAPPEARED. BUT SHE HAD TO BRING GIDEON TO CANAAN HOUSE WITH HER. SHE DESTROYED HERSELF COMPLETELY WHEN GIDEON WAS GONE. SHE WILLINGLY CARRIED GIDEONS WEIGHT ON HER BACK CONSTANTLY WITHOUT EVEN KNOWING WHY. GIDEON STOP BEING AN IDIOT AND JUST SEE WHATS IN FRONT OF YOU I AM GOING TO GO INSANE
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pixel-with-wings · 5 months
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Tag/reblog game because I really like this picrew! Pretty much just do this picrew and tag ppl if you want! Here’s mine:
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@moth-without-toes @mentallyillfromdd @thepotatoheadsaga @feta-cheese-raviolis @fellow-aroace-llama @reversehermitt and anyone else who wants to do it!
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deer-with-a-stick · 8 months
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I love how all of the companions' stories revolve around autonomy and I love how some of the romances show the whole "I love you for who you are"
Don't love how so many people are misinterpreting them though
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six-white-venus · 2 months
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MY FAVORITE WORD EVER
rot
OR!!
gone
you find my corpse on a bright summer morning.
you break into my freezing cabin with a raised eyebrow. unphased. curious. then, a slow smile appears. i am immediately wary.
it has been years since i’ve had visitors in my humble abode and i like it that way. the cold keeps me safe. my body rots like a bruise swells; slow, painful, with withering purples and blues. it stretches the time of my body in this land into an endless limbo that i clutch with my cold, dead hands. my heart is still and i am numb, have been so for a long, long time. i am safe.
you find my corpse on a summer morning and stomp into my home/hell with eyes ablaze and teeth flashing and if i was alive, my heart would’ve seized at the sight. you lug my body to my backyard, unflinching. the sun burns my skin and everything hurts and i want to kick and scream and thrash in your hold because you idiot, you stupid motherfucker, don’t you know the rot sets in faster when life is around?
but dead men don’t scream, don’t move. you drop me on the grass with heaving breaths and all i could do is burn while the cicadas sing of my second demise. then, you start talking.
you tell me about your day and ask me about mine and barrel on when all you’re met with is silence. you tell me of the sky, the wind, and your favourite sundress. you must be insane. out of your fucking mind. don’t you see this rotting vessel of mine? my unseeing gaze and blue lips and cracking skin? don’t you smell the rot, the death? you surely do. then why aren’t you running? no, stop. stop moving closer. you madman, leave me in this wretched place. the warmth of your touch will only make me fester, don’t you see?
but you stay. you tell me how the crisp apple bursts into a delightful sweetness when you sink your teeth into it and pull my head to your lap. you tell me about your mom’s cooking and let my cold seep into your skin. my mouth is sewn shut and you are holding me so gently and i want to scream for mercy, for an ounce of cruelty. give me back my home, you villain. give me back my hell.
ice melts. the heat thaws my flesh and the rot digs into my body with its talons unsheathed and merciless. you pitch a tent next to my body and spend your nights here. night after night, i listen to the lull of your heart and watch the rise and fall of your chest as my body breaks itself down from inside out. i am warm.
and you, stubborn, baffling, ethereal you; you stay. the next day and all the days after that. the stench is getting unbearable now. i can see it in your eyes, in every ragged breath of yours. a corpse will remain a corpse no matter how much it is loved. there are only so many stories you can tell without gagging at the sight of this monstrosity. the sun always sets. stories end. love lives where life does. your kindness never did have a place between my blackened teeth and diseased heart, my dear.
but you come back with a gentle brush of lips against my decaying forehead. your hand cradles my rotten head. my sweet warmth, there you are. won’t you leave?
you won’t, right?
you dig my grave all by yourself. six feet deep, seven feet tall because you want me to be comfortable. what a useless gesture. i learn love feels like the glow of the moon and feather soft touches and a grave dug with bare hands.  you lift me in your arms, careful not to jostle me too much, lest i fall apart. kindness feels like a siren’s lullaby and i can feel my eyes droop. it’s dangerous and so very beautiful.
things are different in my new home. numbness feels so far away. there is life thrumming in my veins and eating away at my flesh. you bring me flowers everyday- chrysanthemums, dandelions and tulips- you tell me they remind you of me. how foolish. how very wonderful.
soon, i will bloom into all the flowers you can dream of from this very earth you laid me in. soon, i will rise, petals unfurling, laugh booming. i will weave myself in your braids and take root in your chest and spread down to the very tips of your fingers. my darling, my sun, my rose; i promise i will find you on a bright summer morning.
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overleftdown · 3 months
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saltburn and privilege; an investigative tangent
god, where to begin.
i've seen a lot of people discussing this moving and specifically using the word "privilege," along with power, dominance, desire, control, greed, etc. me included. these are all very essential aspects of this movie. what i want to focus on is emerald fennell's nuanced portrayal of how different types of privilege interact. which one trumps the other? which types of privilege are more visible, while others are more subtle? what differentiates different levels and layers of privilege?
when emerald fennell describes the core of this movie, her inspiration for this script, she talks about desire versus untouchability. she chose the most absurd type of wealth to represent untouchability: the british aristocracy. old wealth, generational wealth, so far removed from the majority of their ancestors' sins that they can arguably ignore that the money they're standing on is dirty. and they live in fucking castles. this is one of the most unbelievable, gaudy, visible types of privilege you can imagine. everyone is entirely aware and feels entirely justified to call attention to this type of privilege.
oliver, being the main character, might be considered the least privileged within this movie. i'd like to take a critical look at this. this movie is not a straightforward class commentary; there is no traditional "the poor eat the rich" dynamic. because although some people perceive oliver as the least privileged character in this movie, he is incredibly privileged. oliver comes from a comfortable upper-middle-class home in the suburbs. oliver has two loving parents and two sisters. oliver is white. oliver is a man. interestingly, from oliver's perspective, he's not privileged at all. he hates the cattons because they are more wealthy, more comfortable, more untouchable. this extends to venetia and farleigh, even though oliver has applicable layers of privilege stacked above even them. he knows he has a certain type of power over them... yet he still hates them because they have one type of power he doesn't have.
that brings me to my next point. the existence of one type of privilege does not negate the effects of another, entirely different, type of privilege (or marginalization) [quote]. this is what venetia and farleigh's characters draw attention to. venetia experiences some of the same struggles as many women; she is ignored in her own household, perpetually existing within her brother's shadow (rosamund pike once lovingly pointed out that venetia does not have a single conversation with elspeth in this movie). she's insecure about her body and her worth, so she takes what little opportunity she has to use felix's friends as a form of self-fulfillment. farleigh is not only half black, but he's also queer, non-immediate family, and unaccustomed to english culture (specifically this type of english culture). farleigh is, in some ways, more financially unstable than oliver's family because his mom was too sheltered to understand money and his dad is, apparently, "a lunatic." (that's not to say farleigh isn't economically privileged because oh boy, he absolutely is).
this movie doesn't intend to incite pity from the viewers for any of these characters, and it generally doesn't. oliver is pathetically greedy, ungrateful, and desperate for a chance to lick the boots (or bathtubs) of those above him. venetia is pathetically bored of the privilege she does have yet is still so entrenched in emotional turmoil due to other areas in which she is marginalized. farleigh is pathetically attached to uninterrupted comfort and arbitrary white-centric expectations, constantly running from or attacking any threat of struggle. none of these people understand, comparatively, what the less fortunate experience. they are so ignorant to the bubble they exist in and just how grateful they should be for what monumental privileges they do have. but... felix.
felix is the epitome of privilege. oliver is specifically obsessed with felix. just like oliver, felix is a white man. but felix is more wealthy, more comfortable, more untouchable than oliver. oliver isn't as infatuated with farleigh and venetia because he's fully aware of the privilege they lack. he's fully aware of the privilege he holds above them, and he enthusiastically uses this power he has against them. to be in the position of oliver is to be consumed by jealousy and greed so bottomless that you will assert your dominance over any group that you're able to. felix doesn't need to do this. he's been handed every privilege under the sun and therefor welcomes the less fortunate with childlike interest and an equally childlike attention span. there's an aspect of farleigh and venetia's marginalization that is so invisible, so quiet and unassuming, that felix doesn't even notice it. he can't possibly be confronted by it. to be in the position of oliver is to understand what power you hold over others, because there is always more power to have.
racism, sexism, wealth, power, control, desire. there are so many facets of this movie that come into play. it may seem overwhelming, but this is... how things work. commentary on wealth is, and should be, equally a commentary on other areas of privilege. to be black and wealthy means different things than to be white and wealthy. to be a wealthy woman means different things than to be a wealthy man. to be rich to some also means you're much less rich than others, unless you're the richest person in the world. and, as this movie so beautifully portrays, to be richer than most doesn't make you less messy. the catton family is an ugly one, but also a complexly human one. each catton (or start) is jealous of someone else for another reason. each catton is emotionally damaged or incompetent for another reason. each catton has a different layer of privilege over the other. and each catton loves everyone in saltburn, because this is still a family, albeit a terrible one.
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luck-of-the-drawings · 4 months
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EPISODE 2 AND 3 HAVE BEEN SOOOO FUN im already so emotionally attached to each of these characters.. if anything bad ever happens to any of them im killing everyone and then everyone.
#cw blood#cw vomiting#jrwi fanart#jrwi show#jrwi suckening#ARTHUR BENNETS DRY HUMOR IS SOOO FUCKIN FUNNY OH MY GOOODDD the sleepin upside down bit omg..#i love drawing him with just the same stoic expression. he is a stone cold pillar of ice to me. one that loves his little kitty kittyyyyy#i loved watching him work with emizel aswell the dynamic is SOO FUN#I LOVE THAT EMIZEL IS SO FOND OF CATS TOO LIKE RAAAHH THATS SO SWEET.. pepper is his favorite cat....#the part with him defending pepper was SO CUTE UGHH i love emizel he is so small and sharp and pointy AND YET#there is LOVE IN THAT BOYS MOSTLY DEAD HEART I TEEELLL YOU HWAT!!! and in other news:#i love love love the concept of 'royal shut-in gets lost in the big city' MY BABY BOY SHILOOO I ADORE HIMMMM#AND DEACON WAS SOOOO NICE TO HIM givin him a place to stay n helpin him dress up for the party and taking him around town to see the sights#im in love with deacon i love him soooo much. AND ALSO. ABOUT SHILO.#HE CAN EAT FOOOOOD LIKE SURE THE GARLIC GOT HIM BUT WE GGOOOTTA GIVE HIM A MILKSHAKE OR SMTH#LIKE I THOUGHT IN THE FIRST EPISODE WHEN HE SIPPED SODY N NOTHING HAPPENED. I THOUGHT THAT WAS JUSTA FLUKE#BUT NO ITS A PATTERN ITSA PATTERN HE CAN EAT FOOD!!! BABY BOY CAN EAT FOOOD!!!!!!! FEED HIM MORE FOOD!!! food is the best human creation#I HOPE MORE GOOD THINGS HAPPEN TO THESE BOYS. especially since. well. okay so ive seen the 4th episode. sigh.#like holy fuck. hey ep4? what the fuck? hey you just let that happen? what the fuck. what the FUCK. EPISODE 4. HEY WHAT THE FUCK#THAT DIDNT NEED TO HAPPEN. OH MY GOD. THIS BETTER END WELL. IN TWO WEEKS I KNOW YALLRE GONNA BE SCREAMIN TOO BC OHHH MY GLOD. WHAT THE FUCK#EPSIDOE FOUR STILL HAS ME FUCKED UP SO BAD OH MY GOD. I WILL NEVER BE OVER IT. HOLY SHIT. WHAT THE FUCK. WHAT THE FUCK. WHYYYYYY. NOOOOOOO!
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