What I love most about Gandalf big naturals is how much it eases my chest dysphoria. I can sleep without a shirt on now because of Gandalf Big Naturals. Knowing that the artist made the original image while recovering from top surgery and said the image was like a final parting gift from their boobs makes me feel even better about the image's effect on me. Men with big naturals makes me feel much more good about my body than those old posts on here that were like "trans men! Some men have pecs!!! So don't feel dysphoric <3". It's much more meaningful to see a hairy, bearded man with a huge H cup rack not letting his tits get in the way of his masculinity.
Most of all, Gandalf Big Naturals helped me love my body the way it is instead of hating something that's a part of me. Of course I still want top surgery but the fact that I can live with my own big naturals until then without wanting to guillotine them off is really important.
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I LOVE YOU BEE! I LOVE YOUR SUPERNATURAL FANART!!!
Please delete if you aren't interested but would you take prompts 😬 Dean is a very protective older brother and i vaguely remember an episode where he goes apeshit when sam is bullied back when they were kids (and then something similar happens in that episode). Dean is so so angry and sam is just like <i am baby 🥺> and they are very cute 😩😭
You continue to light my dash AND LIFE with just your existence thank you thank you thank you 😘😘😘
My dear @l0vegl0wsinthedark !!! Sorry it took me months to answer but I just couldn‘t think of a good scenario! Hope you enjoy this one ✨🌻
Thanks for sticking with me through the years and fandoms 🫶
On this note: Thank all of you, who send nice asks and messages and reblog my stuff with hilarious and relatable tags I really appreciate every single one 💚 (super sorry I’m so slow at answering) but I hope I can brighten some days from time to time as much as your support brightens mine on a regular basis!
Have a fantastic week guys 💚🌻
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staff logging on to tumblr dot com today
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it's been a year of blondes, boobs, and one piece apparently
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🌈
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the flesh i burned, ritika jyala // my mother & i, lucy dacus // the runaway bunny, margaret wise brown // post, honeytuesday // a mother's day, jessie willcox smith // mother wound healing, bethany webster // unknown // gingersnaps, 2000 // the cradle, berthe morisot // poplar street, chen chen // the sun and her flowers, rupi kaur // how to cure a ghost, fariha róisín
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I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then
SIGHS...
Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.
I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:
There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.
Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.
I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.
No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."
Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).
So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?
This is an extremely significant turning point dressed up as a dress-up scene.
---
P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.
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Sammy and Dean having breakfast for dinner, waiting for John to return.
Somehow the thought of how little Sam must have eventually stopped asking when their dad‘s gonna return makes me really emotional 🥲
Had a busy weekend so here we are with a belated post! Have a fantastic week✨🌻
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drop the dagger and lather the blood on your hands, romeo
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LONGING BECOMES ITS OWN OBJECT
A c!Karlnapity webweave in three parts
In the Mood for Love (2000) - Wong Kar-wai // Your Name Engraved Herein (2020) - Kuang-Hui Liu // The Death of Antinous - Mark Doty // Happy Together (1997) - Wong Kar-wai // A brief-but-seemingly-long-moment when we are on the phone. It is snowing outside. I am staring at the snow. Idk what you are looking at but we are running out of things to talk about. - Sean Cho A. // [i carry your heart with me(i carry it in)] - e.e. cummings // chasing ghosts - @routeriver // all i need - @violentcherries // Jenny Holzer // discord message
Ash Ode - Dean Young // A BAS BRUIT - Leo D’Oriano // SAND GLASS MIRROR SHARDS - @saintashes // In the Mood for Love (2000) - Wong Kar-wai // Jenny Holzer // Nguyen Linh // Luana Azevedo // Zoriana Stakhniv // Wolfgang Tillmans // After the Threesome, They Both Drive You Home - Sue Hyon Bae // Swan-like Embrace, Paris, 2001 - Nan Goldin // PRELUDE: ON CONTAINING MULTITUDES. - @saintashes // Medici Bustier Pearl - Mirror Palais
In all of my dreams, the words I love you - Hanif Abdurraqib // Seaside Death, 2021 - Al Mefer // Jenny Holzer // baroque pearls (1) // baroque pearls (2) // storm front - lorata // 7 Politically Correct Catcalls as Told by a Poet - Natalie Choi // Happy Together (1997) - Wong Kar-wai // SO LIGHT YOU WERE I WOULD HAVE CARRIED YOU - Deborah Digges // Hanif Abdurraqib, poet - Hanif Abdurraqib // SAND GLASS MIRROR SHARDS - @saintashes // @ousia-poetica
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