couldn’t figure out which ygo character to draw so i decided why not a bunch of them ٩( ᐛ )و

every time queer discourse surges on this site everyone is so quick to jump to “it was actually the evil lesbians who divided us” because y’all heard the term “political lesbian” and never bothered to figure out what that meant

Gordon/Barney/Alyx is really really funny to me conceptually bc it's like, two hot geniuses in their 20s who look at the 40-something smartass who hangs around and go 'yeah that guy. we both want him carnally'

“caroline, please kill me” by coma cinema

In light of the info about the properties of souls in The Unwanted Guest, I want to shout out that Gideon — with no grounding in the theoretical underpinnings of the subject whatsoever — actually makes basically the same observation about the permeability of the soul at the end of Harrow the Ninth, when she's in Harrow's body and (with some justification) is pretty sure she's about to die in the River:

Harrowhark, did you know that if you die by drowning, apparently your whole life flashes in front of your eyes? I didn't know, as I died and took you along with me—having kept you alive for what, a whole two hours?—whether it was going to show me both. Like, at the end of everything, if it was going to be you and me, layered over each other as we always were. A final blurring of the edges between us, like water spilt over ink outlines. Melted steel. Mingled blood. Harrowhark-and-Gideon, Gideon-and-Harrowhark at last.

‘As we always were’! ‘Melted steel, mingled blood’! (Also interesting that despite saying earlier in the book that all she ever wanted was for Harrow to eat her (oh Gideon), the metaphors Gideon reaches for here are not about consumption ala what Ianthe’s deal and thus traditional lyctorhood is presented as in TUG, it’s about similar and equal substances joining together to a new whole, more like what we see with Paul. I personally feel like a Paul-style merging for Harrow and Gideon is not in the cards and would not be a satisfying ending — it worked as a bittersweet conclusion specifically for Pal and Cam because those two are utterly nuts in all their sanity lol, but I don’t think the series means to present it as The definitive answer to the central question of individuation vs. connection. There is something so moving to me, though, in the fact that right at the end this is what Gideon wants for her and Harrow. Not for Harrow to eat her, not simply to be of use to her, but to be made together from the same stuff. It’s a longing for connection and union that’s finally at least in imagery free from the imbalance within the ultimately hierarchical roles of necromancer and cavalier that Gideon internalizes through her corruption arc in Gideon the Ninth, understandably so as it’s the only model she’s presented with in their society to understand intimacy and attachment and devotion through. But Gideon says Harrowhark-and-Gideon, Gideon-and-Harrowhark at last, mutually and equally. And I’ve written about this before, but at what must be almost exactly the same time, the same process is happening in Harrow’s mind through the evolution in the symbolism of her dream bubbles. Help I am emotions now) 

Palamedes is so right, Gideon is a lot smarter than most people -- including Gideon herself -- ever give her credit for.

PART 2

im really busy so i couldnt finish the rest of these panels so have this. i seem to have the habit of saving the best for last hjshasjhgjdh BASES were used in like every single one except the last one and so yeah. sometimes bases speed up the process for me if im telling a story more than going all in on the artwork.

i lvoe the attention my stuff has been getting lately its really uplifting :) for new ppl i want to remention again this is not a sfw blog PLS dont follow if ur a minor and pls dont be surprised if i post sumthin less than wholesome and more than horny lmao . ok gn pookies ily

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

I don't know anything about the hunter x hunter mobage aside from the art I see people post on tumblr, but it seems like Melody isn't in any of the cute seasonal outfit card sets and it makes me sad

So I scribbled some of my own beach Melodys o/ I think she deserves a beach day

i remembered it was valentines day and this appeared out of thin air

theyre gay ur honor ☀️🌙💕

I think i finally understand how the Distortion works. I mean, i don’t think it’s possible to ever fully understand it, and i don’t know the whole picture yet because i don’t know what Helen will be like, but i feel like i’ve just been granted a glimpse at the lovecraftian (as in ineffable) thing that is this being.

It’s not a person and a creature fighting inside one mind. There’s no Michael clawing himself to the surface to express his emotions and get his revenge.

Michael Shelley is dead. The Distortion became Michael. It sounds so simple, yet a least in my opinion it’s hard to fully understand.

I think what provides the best metaphor is a small thing the Distortion says after becoming Helen: "without a proper mind." The Distortion does not have its own mind. It’s only a what, but in order to really exist in this reality, it needs a who. It needs a body, but also a mind.

So if i understand this right, it’s like this: Michael Shelley is dead. His conciousness is not there anymore. And the Distortion got forced into that mind, an empty mind of a dead person. This doesn’t make it human, it’s still able to understand the impossible, it’s still the thing that was created to scare and kill. But in the mind it’s living in… the previous owner’s furniture is still there. It gets the dead person’s memories. It becomes Michael, in the sense that it has to be someone. Its existence got tied to being Michael, although Michael Shelley is dead.

When Michael got "emotional", that wasn’t Michael Shelley coming through. It was the Distortion grappling with the side effects of being someone - of living in a mind with all the memories and the human emotions that a human mind can’t fully turn off, even when the thing inhabiting it isn’t human at all.

The Distortion was Michael in the sense that it was thinking with Michael Shelley’s mind. When it became Helen, its consciousness, its being stayed the same, but it needed to adapt to this new mind. It could see clearer now, realizing that the windows of the previous house had been dirty, realizing that the wirings of the previous mind had driven it to do something that it actually didn’t want to do. The throat of the Spiral itself getting caught in the spiralling of its own, borrowed mind.

(first off, i'm so sorry about the quality, i've been fighting tumblr for 2 hours trying to fix it and it doesn't want to work with me :') please click on the pics for better resolution!)

so ever since reading this ask from @blank-house i've had this little scenario in my head because of jamie's bit, and i've finally gotten the chance to sketch it out :>

“Can't remember when we walked past the O.R. sign!

(sur-ger-y!)

Can't remember passing out with her hand in mine!

(my-my-mind!!!!)

I remember waking up with my mind repaired.

(A-OK! ^^)

I remember when I realized, she wasn't there...”

Amnesia was her name….. is. so. horrifically. sadly fitting for these two in literally every single line. And I’m gonna NEED ALL OF U GUYS TO GO LISTEN TO IT NOW OK… THIS ISNT A DRILL GO GO GO GO!!!

Anyway… uhh. the fact Betty “blessed” this guy to like. An eternally long lifespan w THIS FUCKED UP OF A MENTAL STATE IS SO SCREWED UP GHGH- Like poor Simon god damn…! u kno he’d rather just keep on not sorting out his baggage and trauma forever too cuz it’d be too complicated… too much… force him to admit things about himself and about BETTY that he really really doesn’t want to… better to just leave it all unexamined.. pack it all into lil boxes so he can just try to ignore it and pretend it doesn’t exist… HE GOTTA LIVE FOREVER W IT THO… *ME BANGING ON SIMONS DOOR AT 3 IN THE MORNING*: “SIMON U GOTTA ACCEPT URSELF!!!! LOVE URSELF!!!! ACKNOWLEDGE N ACCEPT EVEN THE “BAD” PARTS OF URSELF!!!! SIMON PLEASE!!!!! SIMON EVEN PPL WHO LOVE YOU AND WHO YOU LOVE CAN HURT YOU!!!! ACKNOWLEDGE IT!!! ACKNOWLEDGE THE HURT AND ACKNOWLEDGE UR FEELINGS!!!! AND URSELF!!!!! SIMON!!!!” anyway… gGHGH YEA, SRRY. SIMON PETRIKOVS MENTAL ILLNESSES MAKE ME FEEL LIKE IM GONNA EXPLODE. ANYWAY HAVE SOME ART. W a bunch of diff versions cuz I’m indecisive!

somehow i never drew the big cat from persona 3??? so here is ryoji and the big cat. as a treat.

hi! birthday. which means it's finally time t

yo what the itch store is fixed up now

damn what? I don't know where this came from. look all the comics I put on g*mr**d a year ago are back here again with all the formatting and typesetting by @fireflysummers as well as the exclusive bonus art wtf who did this. my werewolf comic on here too what the hells!! that one also got re-toned for printing if u want to AND an exclusive cover spread !!! what the fuck!!!!! come see for urself I can't make this shit up

“Sacred prayer and we'd swear to remember it all too well...”

All Too Well: The Short Film, starring Sadie Sink & Dylan O’Brien, directed by Taylor Swift