soooo i've been real busy this past month and change working on this monster of a painting! it was originally for the GO Ref library study club but clearly took much longer than i anticipated😅
for those of you who don't recognize it, this is based on one of my favorite historical paintings, Judith Beheading Holofernes (1620) by Artemisia Gentileschi. i love the Baroque period and this painting (as well as her other works) makes me insane. here it is Good Omens style so maybe all of you can be insane with me <3
"Aziraphale (and Crowley) Beheading the Metatron"
(non-bloody and non-glowy versions under the cut)
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what i like especially about the pronouns in the goblin emperor is that this language doesn't just have the T-V distinction (aka informal vs. formal second-person pronouns, in this case 'thou' vs. 'you'), it also has informal and formal first-person pronouns. having BOTH of these distinctions in the same language lets you fine-tune your tone by mixing and matching. with only one axis of formality, when you use informal pronouns, are you being familiar in an intimate way, or in an insolent or dismissive way? when you use formal pronouns, are you being polite or standoffish? you can't tell just from the pronouns; there's ambiguity. but a language where you can use a formal first-person pronoun in the same sentence as an informal second-person pronoun allows you to distance yourself (via the formal first) while also being familiar (via the informal second), thereby achieving the conversational tenor known to linguists as Fuck Thee Specifically.
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my queers in christ we must fight homogeneity in fandom; it's evil and the death of creativity and a brain killer, we do not want to be smooth uniform identical shiny rocks, reading the same characterisations over and over again, we do not want to reiterate the same takes or the same fics, we want the creepiest weirdos coming up with shit so fantastical that it becomes fantastic, that is the point of it all
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the thing about eliot spencer as a character, right. the thing about him.
(and as always your mileage may vary on my analyses so if we disagree that's cool actually)
is that he is in fact a somewhat emotionally constipated idiot who is occasionally sensitive about his perceived masculinity and gets defensive about emotional intimacy around other men (largely hardison, who's much more comfortable expressing affection and embracing a softer kind of masculinity), but eliot displays enough emotional awareness and sensitivity and respect for women etc etc that anyone who's been subjected to that era of television will put on rose-tinted glasses without even looking twice.
(and he is, don't get me wrong, incredibly emotionally aware for a professionally punchy guy with enough trauma to sink the titanic. it still startles me to see.)
on top of which we have the layers and the accessories and the excellent hair with the secret braids and the way he barely has an ego and he's good with kids and protective of his team without taking it too far, and some of us never stood a fucking chance.
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The hate towards forcebook is so pushed. What have they even done? Everything they do is criticized. Accounts I have never ever seen hate an actor before are rallying behind it even for the tiniest reason that seems almost ridiculous. It's just quite confusing because they seem genuine and like the least problematic people. With the amount of haters they have if they were indeed problematic in the slightest they'd on the jumbotron getting blasted. It's not even like they're bad actors. Just random hate for no reason. Are you all okay?
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god like, not to keep going on and on about this but it's interesting how Jello finds Risa's insecurity about her height to be ridiculous and yet is sooo sympathetic towards Otani and not once makes fun of him for having the exact same insecurity.
And how he fucking blames Risa for going on a "date" with a guy who tried kissing her, oh so conveniently glossing over Otani's complete overreaction to something that was not her fault and that she chased after him in the rain to clear up. Even her friends were blaming her for it.
"the misunderstanding is quickly explained and all is well" except it's fucking not because Otani is still clearly pissed about it even though he knows Risa didn't reciprocate??? Really fucking convenient to completely gloss over that.
Like, should she have been upfront about going to the concert with him? Yeah, no shit. But outside of keeping that from him she did literally nothing fucking wrong. It was Otani having his feelings hurt and being petty about it because he was feeling jealous and insecure, almost like they're all dumbass teenagers who have never properly dated anyone before.
And yet. For some unexplainable reason it's ALL RISA'S FAULT because Otani made assumptions and didn't actually trust his girlfriend.
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[cws: drugging, SA and SA apologia, fantasy racism/ableism, forced institutionalization.]
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i know i never shut up about it but god i am still just. So Salty about how the show handles the dynamic between mayor jones and pericles for many reasons, and one of the biggest is that there are really strong overtones here of sexual assault.
a character who already brings to mind the Slimy, Shady Cis White Guy with Buried Allegations archetype:
takes advantage of the trust of someone who's doing something with him in secret--
(which will get that person in a disproportionate amount of trouble compared to him, if they're discovered)
--to catch him off guard so he can grab him, drug him, and do violent things to his body while he's unconscious; scars him for life in a way that is disabling and should cause a lot of ongoing suffering, which, like many other things that should have a strong negative impact on him physically or psychologically, the writers ignore; and dumps him there alone to discover what's been done to him when he wakes up.
specifically, he does this to someone from a marginalized group that's highly unlikely to be believed if they tell anyone what he did--and going by the fact that mayor jones never got in any trouble until present day, he wasn't.
goes out of the way to ruin the life of the victim and discredit him as thoroughly as possible, because he's a loose end and he needs to shut him up.
flees the scene and gets away scot free with this for twenty years, has a successful privileged career and is considered a pillar of the community in the meantime.
when his dirty secret, which he's been paranoid about finally facing consequences for after the victim has recently become a risk again, is discovered, it's a huge career-ending scandal.
is redeemed by the end, while his victim goes on to be the Monstrous Irredeemable Pure Evil Main Villain and also sexually abuse someone himself, which is played as horrific and traumatizing (as it should be).
more specifically, is portrayed as showing redeeming, heroic anti-villain qualities by backhanding the victim into a wall as hard as he can in present day.
me: hm. yeah fuck this
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