#*why

[norriszn]

T—T

[hayakawalove]

No one asked me at all but aki would be good for someone with vaginismus too

[0vergrowngraveyard]

i think this one animation might be my least favorite part of 06

[reverendharrow]

i love watching people read gideon for the first time and getting shot 57 times over the last 20 percent

[diari0deglierrori]

How it’s been lately….

[therado]

pseudo-evil headcanon

[ohdorotheabrooke]

trying to assert the value of tlt based on whether or not it succeeds as a leftist fictionalised take on imperialism is a fruitless endeavour imo - but there is something to be said for what it already achieved, even at the middle point of its telling. monique wittig thought fiction could only ever transform the way we look at the world by immersing us in a world that normalized the unthinkable - radical thinking could only permeate the reader’s mind inadvertently. it’s the metaphor of the trojan house. proust didn’t mean to create a literary language for homosexuality, he just did so in his story about art and memory. likewise, muir’s intent seems to focus more fully on the horror of love - how it wreaks the self and condemn it to everlasting grief or inevitable change - but that theme is delivered by the ever mutable depiction of bodies. our characters are imploded all around, from objects to foreign entities. as such, she forces us to think about the rigidity of norms - which in turn lends itself to a rebuttal of oppressive narratives; from gender to imperialism. ultimately, the point isn’t in the plot. it doesn’t change what’s already been done if the ending doesn’t focus overmuch on a ‘leftist’ worldview in a way that feels overt enough. what mattered most already made its way to the readers, hidden in the trojan house of the tale.