Hey guys? I think there’s something wrong with Damsel-

Link to meme below

mmm. Hello!!! 😊 First Incredibox arts post that isn’t from 0xeyedaisy’s ask box(/lhj). That said uhhh..,,,

Lilac, anyone?

Just a little doodle to try and figure out how to draw her (with headcanons and interpretations)

My fixation on her waxes and wanes. However, this time around, it has me in a combination headlock chokehold!

“Louis de Pointe du Lac. That's an interesting name.” “Louis of Pointe du Lac Plantation. My great-great-grandfather owned one. All that remains is the name.”

“And a sizable trust to oversee as a consequence. Capital accrued from plantations of sugar and the blood of men who looked like my great-grandfather but did not have his standing.”

When introducing himself to Daniel both in 1973 and in 2022, Louis alludes to the ways that the legacy of chattel slavery in the United States remains present through his life. The ramifications of this history will be explored further in his interviews; it is intrinsic to the racism that Louis describes experiencing, and it is built into the economic and cultural foundations of the societies that Louis has and continues to navigate through. The way that this subject is broached however, in both the past and present, specifically centres the relationship between slave plantations and Louis’ own affluence.

Daniel’s remark being prefaced by Louis offering to “Get the boy whatever he wants”, before carelessly pushing a platinum credit card between them, implicitly correlates Louis’ response with that ostentatious display of wealth. It is not an intentional association made by the characters, and Louis immediately downplays the link when he recognises it (“All that remains is the name.”). Given his reaction, it seems likely that Louis did not talk about this topic during his subsequent interview with Daniel, though, again, that does not mean it would have had no bearing on other matters discussed. By contrast in the present day, Louis broaches the subject himself and fairly openly acknowledges the correlation. It was a slave plantation and the exploitation of enslaved people that created the sizeable trust that paid for the house and lifestyle that Louis and his family enjoyed. While Louis does not state it directly, the unavoidable implication of Louis clarifying that his great-grandfather was black and had a different social status to that of slaves (“[…] the blood of men who looked like my great-grandfather but did not have his standing.”) is that several generations of Louis’ black relatives have, at least indirectly, financially profited from chattel slavery. It is unlikely that this wealth was all inherited after the fact, considering that the abolition of slavery in the United States occurred only a couple of decades before Louis was born. These pieces of information seem to contradict then the implicit suggestion of Louis’ earlier explanation in 1973, that the only direct bearing the de Pointe du Lac plantation has had on his life is a shared name.

Both the dismissal and the acknowledgement are characteristic of how Louis describes the past; factual as a basic statement but carrying additional implications whose accuracy is more questionable and or left carefully unexamined. This is a rhetorical device that aids Louis in maintaining control of the narrative and its meanings while avoiding, as much as he can, outright lies. While Louis does view Daniel as a necessity for him to revisit his story, it needs to be stated that this does not prevent Louis from consciously and unconsciously tailoring it for his audience. It is possible that Louis only acknowledges the subject at all in the second interview because he is aware that Daniel has likely done some background research on his family. Considering how insensitive to racial issues Daniel can be, as well as his deliberately combative and contrarian approach to interviewing, it may be that this is a subject that Louis does not want to explore with Daniel specifically; it is perhaps notable that the penthouse Louis shares with Armand contains at least two pieces of art (Slave Auction by Jean-Michel Basquiat, and Transformation by Ron Bechet) which are about chattel slavery. Regardless of the reason for Louis’ selectivity, this context continues to hover on the periphery of Louis’ story, adding additional layers of meaning to the events that follow.

It contextualises the contradictory feelings Louis has about his work as a landlord and pimp, roles that may step outside of the shadow of sugarcane and slavery but are only made possible through investing the profits of them. When Louis confesses to the ways he treats his workers, tellingly he invokes plantation imagery with “[…] I lie to myself, saying I'm giving them a roof and food and dollar bills in they pocket, but I look in the mirror, I know what I am; the big man in the big house, stuffing cotton in my ears so I can't hear their cries.”. This conflict then deepens the resentment Louis has towards his family for criticising how he provides for them, with Paul being the only member who even entertains the idea that they should not spend the money at all (“We should tithe that o'er to St. Augustine's 'fore this house falls in on us.”). Whereas the family judges Louis for connecting them to an industry they view as sinful and lacking respectability, contrasting it to the seemingly fondly remembered family plantation (“Daddy was here, we'd still be in sugar cane.”), Louis is troubled by the exploitative nature of that work and capitalism as a whole. Yet there are also times when Louis exhibits pride towards his business dealings (“And I was now the owner of the brightest club in the district. My club, my rules. […] It was everything I had ever wanted or wished for. […] I made a mountain of money, enough to retire and be buried like a pharaoh.”). This could be suggested to be partly because Louis has moved away from the legacy of his family’s past to create something that he can try to believe is helping his, primarily black, workers (“I paid the staff better, paid the band better, all the while helping those who had been with me down the block to better themselves.”).

Most significantly of all, this context adds an additional lens through which Louis and the audience can examine some of the overarching existential ideas that Louis has been grappling with throughout his life, and that the second interview brings to the forefront. How does the past continue to define our present? Can we be considered in any way culpable for the actions of others? What reparations can we make for the harm, deliberate and unintentional, that we do? The open-ended way that Louis approaches the link between his inherited wealth and chattel slavery, as well as the subsequent ways that these have shaped his life, is reflective of those unanswered questions. Louis is desperately trying to find, if not a definitive answer to these philosophical quandaries, an insight that can give his existence purpose and direction. It is vital to Louis that his experiences offer some greater lesson (“That's the purpose. Our book must be a warning as much as anything.”), and ideally one that he can prove that he has already learnt. The different ways that Louis approaches the subject in 1973 and 2022 then reflect how he is revaluating the past and himself (“The passage of time and the frailties that accompany it have provided me perspective.”), but despite this, critically and symbolically, Louis still does not seem to have come to any conclusions.

got three asks asking for laughingstock in a row, im putting the doodles i have On A Shelf <3

collector of cosmic glimpses

cw // self-harm implied

Happy birthday, dear Astronaut.

Until the day we meet.

Seaside fun for the whole family including the weird magic uncle.

HAPPY BIRTHDAY HATSUNE MIKU!!!!! here's my favorite miku, from the first vocaloid song i ever heard

That moment from Only Friends behind the scenes rewrote my brain – that's not a human, that's a cat dressed like Freddie Mercury %)

First, the creature you are <3

// More Only Friends fanart //

right where it belongs.

Sorry vent art time

To help learn how to draw different head/face shapes using... well, shapes, I decided to experiment with my interpretations of the Vital-Force squad. Here are the versions with my drawing notes.

The notes under each drawing ("short & wide," "long & sharp") are to help with detailing and just generally what shape language they use. And here are the versions without!

Eventually, I'll also do body types, and perhaps even full reference sheets? Who knows. I love these guys a whole lot.

these two were due for updated refs. Changed their designs around a bit and gave Blake a lil bit of hivewing blood.

(Click for better quality! Tumblr dims down the colors of procreate drawings a bit so you may need to click on open image in new tab to see Blake lol)

im working on finishing these guys tonight(besides my freya sculpt, still working on her). Ive been trying my hardest to stay off twitter and instagram, because having all these eyes on me gives me anxiety!!!!!!! id like to post more of my WIP stuff here from now on and other things that i wanna talk about that i dont necessarily want a bunch of strangers to see

we havent heard from him since we saved justin, have we?

I'm really sorry. I was rude and careless and tagged reblogs of your art with something you have explicitly asked people not to tag your art with. I'm sorry for making you uncomfortable and not listening to your request. I am sorry that me reaching out on anon like this is also very obtrusive. I adore your GF art and headcanons and look forward to your comic updates very much. Is there any chance you might consider unblocking someone? I understand if you would rather not. Thank you for blessing this fandom with your wonderful art and I wish you the best with your health struggles.

oh uhh well I appreciate the fact that you actually came into my inbox to apologize but it's honestly not... entirely necessary? the way I go about these things is that I'm putting my own comfort first when it comes to navigating the internet so it isn't like it's personal. and I definitely don't want people to come into my inbox, like, begging for forgiveness. I'm just some guy.

that being said it's not incredibly likely I'll unblock since I block most blogs pertaining to [ship I'm pretty sure you're talking about] if I see them, it bothers me quite a bit to see in my notifications. idk. I appreciate that you enjoy my art and hope you can understand my boundaries 👍