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My third eye suddenly opened and now I'm stuck thinking about a crossover between Stranger Things and Voltron, specifically the parallels between Billy, Max and Lotor
I mean. Just think about it. They had Neil and Zarkon as abusive fathers. Lotor had to kill his own dad, since Zarkon did try to enslave or kill everyone who didn't agree with his species, and all he got that it was for the greater good. No one said anything, not a 'sorry you had to go through that', not a question about his feelings on the matter. Just a 'good job, moving on'.
And Lotor spent so much time trying to be good. Trying to connect with others, trying to be better than his dad. He thought he finally had a place in the world, had people who understood and loved him. Only to get betrayed again and again and no one was even willing to hear him out. Between the pressure and the quintessence, of course he snapped. And they didn't try to save him.
Billy, on the other hand, didn’t try to be good, because he knew there was no point. He knew he was never going to be good enough even though part of him wanted to. He couldn’t keep inside all that hurt and he tried to be more like his dad, he wanted to feel like he has power and not just some weakling, so he took his anger out on others all the time. Of course people didn't like him. Of course they hated him. He was a mean asshole.
So when he died, I wonder what the others told Max. I wonder if Max got the same treatment Lotor did about Zarkon's death, because Billy was mean and killed people (possessed or not) even if he did die a heroic death, I wonder if she had to hear things like 'it's for the better', 'he deserved it'.
And it hurts to think about that Max saw Billy as he was, late or not, that Max was willing to be there for him, while Lotor didn't have a Max. He should have had people to care for him and hear him out, he thought he did, but well. There are no happy endings for them.
you wanted to be a good friend, because you loved your friends, but the truth was that everyone else somehow had a pamphlet on being normal that you never received. most of the time you learn by trial-and-error. you are terrified of the next big mistake you make, because it seems like the rules are completely arbitrary.
you've learned to keep the prickly parts of your personality in a stormcloud under your bed - as if they're a second version of you; one that will make your friends hate you. it feels feral, burning, ugly.
instead, you have assembled habits based on the statistical likelihood of pleasing others. you're a good listener, which is to say - if you do speak up, you might end up saying the wrong thing and scaring off someone, but people tend to like someone-who-listens. or you've got no true desires or goals, because people like it when you're passive, mutable. you're "not easy to fluster" which is to say - your emotions are fundamentally uninteresting to others around you; so you've learned to control them to a degree that you can no longer really feel them happening.
you have long suspected something is wrong with you, but most of the time, googling doesn't help. you are so-used to helping-yourself, alone and with no handbook. the reek of your real self feels more like a horrible joke - you wake up, and, despite all your preparations, suddenly the whole house is full of smoke. the real you is someone waiting to ruin your other-life, the one where you're normal and happy. the real-self is unpredictable, angry.
your real self snarls when people infantilize the whole situation. because if you were really suffering, everyone seems to think you'd be completely unable to cope. but you already learned the rules, so you do know how to cope, and you have fucking been coping. it's not black-and-white. it's not that you are healed during the other times - it's just that you're able to fucking try. and honestly, whenever you show symptoms, it's a really fucking bad sign.
because the symptoms you have are ugly and unmanageable for others. your symptoms aren't waifish white girl things. they're annoying and complicated. they will be the subject of so many pretentious instagram reels. if they cared about you, they'd just show up on time. you care, a lot, so deeply it burns you. you like to picture a world where the comments read if they loved you, they'd never need glasses to see. but since that's a rule you've seen repeated - "one must never be late or you are a bad friend" - you constantly worry about being late and leave agonizingly early. there are no words for how you feel when you're still late; no matter how hard you were trying.
so you have to make up for it. you have to make up for that little horrible real you that you keep locked in a cabinet. you are bad at answering emails so every project you make has to be perfect. you are weird and sensitive so you have to learn to be funny and interesting. you are an inconvenience to others, so you become as smooth as possible, buffing out all the rough parts.
all this. all this. so people can pass their hands over you and just tell you just the once -how good you are. you're a good friend. you're loveable.
Click for quality?? Forgot tumblr eats png files for some reason..Anyway I finally found out how I want to draw Alastor lol
I'm rewatching Hazbin Hotel with my friend and we were freaking out trying to figure out what that horizontal line across is chest is supposed to be...wouldn't be surprised if Viv didn't know either lol (no shade) ((a little shade))
As someone who isn’t even the primary caretaker + has other adults around to help, after staying home with 2 small children for one week I don’t know how tradwives don’t kill their husbands who don’t help around the house. If I cook and you can’t even wash the dishes I’ll start planning homicide
Here's another thing I wrote two years back! It was an interesting concept which I really liked, so I actually really enjoyed writing this request!
Hank J Wimbleton was a grunt of many things, but not one to be scared unless he had a good reason to be. There were many things in this world he did not understand, you were one of them. Upon meeting you, his first instinct would have been to either fight or run away - who could blame him, it was all he knew. No matter how many times you reassured him that the very last thing you wanted to do was to harm him, he’d draw his weapon, uncertain of whether or not he should believe your words.
Once you show no resistance towards him whatsoever and simply restrain him using your powers or other methods, that’s when, thrashing around as much as he could, he would start listening. You may or may not have seen a grunt up close, but this was your chance to finally examine one. As you scrutinise him from every possible angle Hank realises that you were simply curious about his being and finally lowers weapon.
Your voice would likely hurt his head and freeze the blood in his veins, so you might have to resort to telepathy or speak through a marionette, if you can find one. Though, once Hank’s interest in you has been piqued, he’d be more than happy to find you one. A lot of people in Nevada seem to be redundant in the first place. Regarding telepathy: You will be able to have a two-way conversation with Hank like that, but, for the most part, he doesn’t think in words. Still, he can do so, if needed.
If you’re on the rather small side, he will make an effort to pick you up, or hold you, and bring you back to base. Depending on whether you can float or not, this might be rather difficult, but he’ll try. If you’re large, however, then he will simply “tell” you to follow him. As an eldritch being you could likely either change your form or scare away anyone in your path in the first place, so he doesn’t particularly worry about anyone being stupid enough to attack you.
Spend time with him, he’ll get used to you more and more and, eventually, grow a bond with you. Proud, he’ll show you to Doc so he can figure out what you are, but do not be fooled. Hank wants to know what you are to some degree too. Once comfortable with you and certain you won’t harm him, he’ll start observing you, touching you to some degree. See how you react, how you feel, how you are.
Despite your conversations being, for the most part, one-sided, Hank will ask you directly what you are and if you’re some form of eldritch deity. Since you’re an amicable creature he can’t exactly wrap his head around, it’s worth a try.
Although he would like to do so to some degree, he won’t take you with him on missions. It’s his way of saying “I care a great deal about you, I don’t want you to die or worse even if you are capable of defending yourself.” If you really insist on aiding him, he will let you, begrudgingly. But beware that he will have your back. In fact, having you around will give him a greater reason to fight and improve his overall performance. Though, it will also be a major stress factor to him if something were to happen to you, so choose wisely.
reminder that if you're not watching Crayon Shin-chan then you are living a hollow and empty life. this is not edited. this ripped straight from the movie (Movie 8: Jungle That Invites the Storm, highly recommend for fellow Masaaki Yuasa lovers)
if you need further convincing: these monkeys run an animation sweatshop
the evolution of the operator symbol over the course of the series is so endlessly fascinating to me, because like. Alex came up with the symbol and only ever really used it on his hypergraphia papers, which we don't really see him do much (if at all) after season one
but Brian,, Brian uses that symbol constantly. It's basically a signature by the end of the series - he leaves it on Tim's medical records, and on the back of Alex's photo of Amy, and on the note he left for Jay about Benedict Hall - he even uses it in his final video to unveil his name - it's self-referential, but he doesn't ever really seem to use it to denote The Operator the way Alex did?
Like, to me it really does seem like he basically appropriated it. "This is the symbol you created for the thing that was hunting you, but now I'm the thing that's hunting you" - like, hh fuck dude, Looking At You
i think there's something to be said about what exactly it means to be "non-human" in a story that is as much about humanity as wolf 359 is, where even the dear listeners are defined less by their own perspective and more by what they fail to understand and therefore reflect about the human perspective - to the point that they don't even have their own voices or faces or identities that aren't either given to them or taken from humans. they speak to humanity as a mirror.
even pryce and cutter are "very much humans" - pryce defined by her resentment of and desire to transcend its limitations, and cutter by his aspirations to redefine and create a "better" type of human - and find the idea that they might not be human laughable. it's interesting that they have distinctly transhumanist aspirations when their goal is the narrative opposite of common science fiction fears: that we will expand the definition of humanity so much that we'll lose whatever it is that makes us human. pryce and cutter's transhumanism narrows the definition of humanity to the worthy and the useful, as defined by them; "there will still be a humanity; it'll just be our humanity."
in direct opposition to that, i think it's meaningful that the show instead expands the definition of humanity in ways that include lovelace and hera, who in another show with different themes might be considered (in the descriptive, non-moralistic sense) non-human. i will always make a point of saying that personhood and humanity are two often-related but meaningfully distinct concepts, especially when talking about sci-fi and fantasy. i am talking about humanity.
the question of how hera identifies, and what social pressures influence that, is a complicated one. i've talked about it before and i will talk about again. what's important for the purposes of this post is that i think the show considers her fundamentally human. think about her role in shut up and listen - consider jacobi's lion example and the concept of different paradigms - that even things that are close to humans, comparatively speaking, understand the world in different ways. whatever differences hera may have from the others, it's primarily in experience, not fundamental understanding. she shares their emotions, their concerns, their values, their thought patterns. she has an appreciation for music, which the show considers a hallmark of humanity. she fits within the framework of humanity as the show defines and is, in her own words, left feeling "uneasy" about how difficult it might be to communicate with beings who don't. and it's significant that this takes place in shut up and listen, of all episodes, specifically because the way she is clearly and unambiguously included in the show's understanding of what it means to be human highlights the ways she and lovelace are othered by eiffel's careless comments that suggest otherwise.
(i don't want to get too into these details for this particular post, but it's worth noting that hera will refer to 'humans' as a category, often when she is upset and feeling isolated, but has never said that she 'isn't human' - she has never been upset that people are treating her 'too' human. i've seen it said about the line "you need to get it through your heads that what goes for you doesn't always go for me", but that's a frustration related to ability and safety, not identity. far more often, she will refer to herself in 'human' terms - referring idiomatically to experiences or body parts etc. that she doesn't literally have - and is upset primarily with comments referring to her status as an AI. it does not diminish how being an AI influences her perspective and experience, but again, so much of that is in terms of ability that it feels almost inseparable from a discussion about disability.)
lovelace's humanity and hera's humanity are so interlinked and directly paralleled in the text that i think it's impossible to really argue one of them is "not" human without making implications about the other. in desperate measures, lovelace tells kepler he's "not human" and he responds "you're hilarious. on a multitude of levels." later, defending lovelace against kepler's repeated dehumanization, hera very pointedly uses the phrase "that woman." in out of the loop, hera says she's never met anyone who "worked so hard at being inhuman" as jacobi, who says "what do you know about being human?" hera very emphatically responds, "i know plenty." later, defending hera against jacobi's repeated dehumanization, minkowski pointedly uses the phrase "that woman." with the care taken towards language and the way scenes and turns of phrase will parallel each other, that's not a coincidence. it might seem strange to have the "non-human" characters be the ones to express criticisms based on perceived "humanity" (something hera will do in other contexts as well - "we don't have funerals for animals" etc.) but in the broader context of the show, i think it's the point.
so, whether hera would ever call herself human, or be comfortable with that, is a complicated question for another time and depends on a lot of other factors. but wolf 359 is a show about humanity, it includes her within its definition of what it means to be human, and i wouldn't be comfortable definitively saying she's not human because of that. it can't be a neutral statement within the particular context of this show.
@stainedglassthreads asked about my inspirations when it comes to comics creation, which I am always excited to talk about! (You have unwittingly activated my trap card, so be prepared for a long ramble!)
My comics are primarily a product of the 2014 Image boom and the 2000s webcomic scene....
...and the main sources of my comics craft knowledge are the works of writer Kieron Gillen, artist Jamie McKelvie, and colorist Matt Wilson. They're an incredible team and everything they've done together is worth checking out, but I'm going to talk about two of their comics here. Young Avengers (2012) is a good place to start. Tons of formalism and interesting panel layouts. It's the first place I looked for inspiration when I was planning the design for Looking Glasses. Definitely worth checking out if you like cape comics, but also worth it if you don't, it's pretty stand alone. (Plus it introduces a lot of ideas and characters that Marvel is currently pillaging for the MCU, so it's always nice to see those ideas in their original context before my employers ruin it)
I can't talk about comics without bringing up The Wicked + The Divine (2014, written by Kieron Gillen, art by Jamie McKelvie, colors by Matt Wilson, lettering by Clayton Cowles). It's an incredible comic and a formalist masterpiece. 12 young people are reincarnated as gods, they have two years to live, and also they're pop stars. Issues frequently challenge the way you read comics, or break into completely other mediums (One issue was written almost entirely by real world magazine writers interviewing the in-universe characters). You can see my influences here pretty clearly: the interstitials, the style shifting, my recent (incredibly blatant) reference to Lucifer's transformation. Also the fashion, Jamie McKelvie is a fantastic designer! This comic is a must read for anyone interested in the medium of comics, especially Kieron's writers notes (all available here on tumblr at @ kierongillen), where he breaks each issue down panel by panel. The writer's notes are essentially a free masterclass in comics craft. (and when you've read that, check out the zine I organized with @gen-is-gone and 37 other artists here on tumblr at @iconic-zine) I cannot overstate that this comic is the reason I make comics.
I feel like I can't not mention DIE (2018, written by Kieron Gillen, art by Stephanie Hans, lettering by Clayton Cowles). Six kids disappeared into their d&d world and returned two years later, now they're adults and their past is coming back to haunt them. It's a fascinating exploration of portal fantasies, and has definitely influenced how I approach the dark world/darkners. (also, if you read DIE and want a good breakdown of the historical stuff, be sure to check out the podcast DIE-Compressed)
Honorable mentions:
The visual stylings of Caspar Wijngaard in Home Sick Pilots (2021, Watters, Wijngaard, Bidikar, Muller)
The colors of colorist Jordie Bellaire, in this case Injection (2015, Ellis, Shalvey, Bellaire)
The work of Emily Carroll
Everything from Pretty Deadly (2015, Deconnick, Rios, Bellaire, Cowles)
A lot of stuff from Sex Criminals (2014, Fraction, Zdarsky), it's an incredible comic that goes way beyond it's (fairly nsfw) concept. There's a ton of formalist stuff here, and it tackles all sorts of concepts with a level of depth you wouldn't expect from such a silly setup.
In terms of webcomics influence, I am, unfortunately, a bit of a Homestuck. There's a lot to be said about this comic and I'm trying to keep my word count down here, so let's just say that it's arguably one of the most influential webcomics, and while many of it's ideas aren't necessarily unique or are derivative of other works it is singular in it's scope and presence. I find it mainly affects my own work in the way I think about the website design. (Plus, you know, Toby Fox)
Other notable webcomics that have influenced my work:
The works of Evan Dahm
Barbarous
Stand Still Stay Silent
Lackadaisy
(and a bunch more, but this has gone on long enough)
finished writing chapter three!! there are currently 10 posts planned, along with the "growing up" post so 11 total in the works! excited for you all to see what i've been cooking (^:<
i hate it when people gas up posse and bat’s discography and then throw in bb needs to change up their sound as if posse doesn’t have 3 bubblegum pop songs rebranded and bat doesn’t have 3 spoopy songs of the same vibe 😤