Note: In Japan, a boy would give the second button from the top of his gakuran to someone he’s in love with, because this button is closest to his heart.
I love the concept of everybody loving Buccellati please come join me in the Passione-multishipping carnival tent you’ll get free off-brand coffee and cute headcanons p l e a se
An old university friend shared an article about making cuneiform tablet gingerbread and my first thought was ‘oh my god, are archaeologists incapable of normal baking?’. Closely followed by ‘….I want to make that.’
Doing real well at not being a stereotypical archaeologist.
My evening leasure time is to read fanfics and now apparently to indulge myself in silly fanarts~
Fox Kakyoin and Wolf Jotaro from the Japanese AU, The Fox Spirit and the Artisan by nomette. I’m in LOVE with that AU, the characters are so well-written!!! <3
(Jotaro is only mentioned so far but it won’t stop me from having fun with the two, pft. XD;)
It was the photo they’d taken in front of the Lagoon, Buccellati’s yacht. A picture of the whole team, standing in the sunlight. Fugo’s expression indecisive, Buccellati’s somewhat embarrassed, Mista and Narancia grinning from ear to ear, and Abbacchio stoic. They were all so full of hope that day.
He was silent. He sat in silence for a long moment, his head down. Thin drops started falling on his lap.
Honestly? I cant wait for Hirohiko Araki himself to be added to the jjba block list for shipping pucci and dio, having nazi characters in his manga and drawing suggestive giomis art 😂😂😂
In light of recent events, I want to make a little flowchart.
“I don’t like this content.” ->
“This content is objectively bad because I personally don’t like it.” ->
“People who make this content are objectively bad.” ->
”People who are objectively bad deserve anything I do to them.” ->
Callout posts, cyberbullying, doxxing, swatting, and whatever other kind of lynch mob behavior you can imagine.
The thing is, the jump from each of these steps is really easy! It’s annoying and difficult when you’re constantly forced to confront big communities of people enthusiastically making content you don’t like. When people’s favorite characters/ships are attacked, it’s a natural reaction to try and rationalize why you’re correct and the other person isn’t. And, of course, there are things that are objectively bad that happen in fandom, and sometimes content is terrible because it’s actually racist or sexist.
I’m not any kind of saint, but in order to modulate this kind of thinking, I have a couple of questions I ask myself when evaluating content.
1. Is this actually bad, or do I just dislike it? Just because you or me or anyone else has a strong disgust reaction to something doesn’t mean it’s actually bad. Sometimes it’s just the cultural equivalent of not liking spicy food.
2. What are the consequences of this content on real people? I hold the radical position that it’s not inherently immoral to depict immoral acts in fiction, since writing a depiction of torture is not the same as endorsing torture. A lot of people on tumblr get really attached to fictional characters, but remember: fictional characters don’t actually exist. They can’t feel pain. If someone dedicates their life to writing a novel about a character suffering…… no one was hurt, and if that person is helped by that action, then it was actually a net-good to write that novel. Real morality cares more about people than characters.
3. Is what I’m doing a moral action for me to take? To what extent does it have the capability to hurt innocent people? This is more of a fringe question, but I think that even if someone is, idk, racist on the internet, it’s probably not worth it to swat their house. People who are completely uninvolved could get hurt.
I don’t really have a grand conclusion, I just wanted to break down what I see as the process of anti culture in the hopes that maybe someone will see it and recognize their own thought processes. It’s not wrong to strongly dislike something or to take steps to avoid content you dislike, but I think it is wrong to bully people out of the fandom for making things that aren’t to your personal taste, and unfortunately one often leads to the other.
Eddie quickly realizes that Venom prefers not to communicate through words. Instead, he converses through mental representations: bursts of colors, sounds, textures. They’ll be walking down the street together and Eddie’s mind will suddenly be filled with the smell of rain on metal, or an undulating wave of delicate purple.
He tries to parse the meanings but the impressions are there and gone too quickly. He barely registers one before it disappears.
He asks Venom why and Venom makes a humming pulse that is his equivalent of a laugh. OUR SPECIES COMMUNICATES THIS WAY. WE USE WORDS ONLY FOR THE BENEFIT OF YOUR PRIMITIVE MONKEY BRAIN, EDDIE.
The more time they spend together, the better Eddie learns Venom’s language of sensations. There’s the bright red color and high pitched whining sound that means danger incoming. There’s a low, rolling vibration that means hunger. There’s the pale cyan with the texture of velvet sliding over their psychological bond that means curiosity, a desire to investigate. They have that one in common.
But there’s one feeling that Eddie can’t place. He notices it more and more: When they’re slouched on the sofa or bickering as they make their morning Tater Tots, Eddie catches this scent like toffee that’s just about to burn and he sees a field of deep muddy green.
He asks about it, one day. He feels Venom twist inside him when he does, brief flashes of images whipping through his mind as happens when Vee isn’t sure how to explain a concept in words.
IT MEANS- A pause. A faint feeling of embarrassment carries over their bond. IT MEANS HOME.
Oh, thinks Eddie, sure, that makes sense. Venom has travelled a long way from his home planet, he must miss it. Must be a kind of homesickness-
NO. Venom interrupts. THAT WAS JUST A PLACE. FULL OF JERKS, TOO. IT MEANS HOME LIKE-
Eddie gets a glimpse of himself as Venom sees him. On a confusing, noisy planet filled with seven and a half billion chattering amorphous blobs, Eddie glows. Streams of light pour out of him, like a beacon in the night, calling to Venom, illuminating his way.
He sees their shitty apartment with the peeling paint and the draughty windows, and to Venom it looks like a port in a storm, an oasis of calm and warmth and security.
He sees the two of them, intertwined and tangled together, individualities blended into one whole that is greater than the sum of its parts.
-MEANS HOME LIKE US. HERE. TOGETHER.
Eddie sits heavily, emotion and sentiment bubbling through him, no longer sure where his feelings end and Venom’s begin. He thinks of his life before they met, how lonely he was, how devoid of purpose. How different things are now, how much fuller his interior life is now that he has someone to share it with.
He does his best to summon up the burnt toffee smell and the particular shade of muddy green in his mind and sends them over their bond. He feels Venom wrap tighter around his chest, affection radiating off him.
Some of the best writing advice I ever got was if you’re stuck on a scene or a line, the problem is actually about 10 lines back and that’s saved me from writer’s block so many times.
Often times, I find myself stuck on what a character should say next or what should happen in a scene to connect A to B or so on. When this happens, I fall into the trap of writing and rewriting the same few lines over and over, and becoming more and more dissatisfied every time until I give up.
But problem is almost never actually whatever line I’m trying to write at the moment; the issue is the stuff leading up to the line. Maybe there are structural issues with the set up, maybe I wrote a bit of dialogue that was out of character leading to a discussion that doesn’t make sense, maybe I’m missing a vital piece of exposition or expositing too much. It could be a lot of things, but the important part of the advice is to look back and be willing to consider changes to something earlier in the work (even if you’re really attached to like a piece of dialogue or a particular sentence or something) instead of trying to find a way to force out a scene that’s not working.
romaincrisis
amandla
gamechangershow
izzy806
gracieabrams
