#that's powerful

[all-inmoderation]

Miles Morales is so Aang-coded

[occultvettr]

So #whoreweek...

I only had the energy for two drawings, but I got a couple of prompts covered.

[yknowhatimean]

Thinking of Him...

[drinkingdeadpeopletea]

“I hope that the Hungry One stays hungry” is a GREAT line

[readyforit]

folks, folklore has a solid 5.0 rating

[leaving-fragments]

God, I love Lee Taemin and his entire discography so. damn. much.

[heavens-tiny-daggers]

I had a galaxy brain epiphany while plotting Heaven’s Tiny Daggers last night... They say the simplest way to make an alternate history plot work is to change a single thing about the world, and let everything else fall into place around it. Historically, girls started getting really empowered by goth rock in the 70s-80s, and it was the first time women started intruding on what was a typically male space in the punk rock scene. Now, one might argue that this is a direct parallel and, in fact, a direct origin of emo fangirl culture. The thing about girls in bandom is they’ve been shamed for being cringy fangirls. And the large reason for this is that it’s teenage girls figuring out not only their individuality, but their sexuality, and they’re not being quiet about it. In fact, they’re proud about the bands they love and when men start seeing this behaviour, especially invading their spaces, they get scared. They feel threatened.

So, where Heaven’s Tiny Daggers’ pivot point in history is, is that empowering moment of goth rock gaining popularity. Here, girl punk bands start coming up from the underground, and they’re defying what mainstream record labels want to sell to the masses. But the masses love them. So to follow both trends and where the money is, record labels start trying to adapt. Over time, this relationship between record producers and girl bands starts getting insidious, where the female artists are being twisted to what the record producers want from them, basically to maintain the status quo. The music industry is essentially the same as it is now in all its toxic masculinity nonsense, the girl punks just hold more power and the industry’s been fighting to regain that control for decades.

Heaven’s Tiny Daggers is not only a commentary on the capitalist corruption of the music industry, but a celebration of music fandom as an unabashed expression of female sexuality and artistic inspiration.