30! And/or maybe 27?
munday talky talk (friday edition) / accepting
30. your choice !
i never thought i'd become selective with certain rpcs or even have trouble with them, yet here we are
i'm not really gonna be (or try not to be) negative or nothing but it genuinely surprises me that i would have problems with a community (especially since i was so convinced rp would be smooth sailing since im pretty casual). that might just be the price that comes with multifandom multis though, you get dirt and problems you otherwise would have never encountered if youd been single JVSJSV
another thing about being multi is that its really upsetting when i am fixated on a specific fandom and its muses and im expected to have high muse for my other fandoms during that fixation (especially request muses). a word of advice: muse does not work that way. i work on what im motivated for, which is why some threads will take a long time to get responses to. which is why i gave precautions on muses that are set to tertiary and request; i cant guarantee they will be active
if people have problems with that, so be it, but id really appreciate if both my confidence and motivation in a portrayal was respected. just something ive noticed in the rpc
im just not gonna give people the time of day if they cant respect i am human and cant operate to the same standard all day every day and not equally to all my characters
27. an old muse
i miss my first rp blog a lot if i havent made it clear LMAO
fn.af rpc era during security breach was fun, and i enjoyed portraying roxy a lot but the usual story happened. bigger, better blogs that had more detail to how they looked etc and that was it
i left bc it was just too much, especially when i was being shun and treated as lesser for seemingly being behind
id love to write fn.af again, ive been wanting to put michael here on my blog again because he was a muse i was passionate about and wanted to share my interpretation on a lot but theres something thats holding me back, and i just dont wanna go back tbh
i miss the sense of community from the time i wrote roxy and the feeling of the times, but i just dont think i could slot myself back into the rpc again. who knows bc i might make a private mutuals-only blog for old muses id love to write again LMAO but yknow, thats it. will forever love how it was though
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I was disappointed that Haruhi was treated like a girl by the host club members. Anyway I’m trans now 👍
this is actually probably another example of cultural disconnect irt ouran! I don't blame you for it because if im right about where you're coming from, it's a linguistic thing and unless you understand japanese/how japanese works it's not a connection you're going to make. I think that much of what english-speaking fans percieve as haruhi being treated like a girl by the hosts, aside from tamaki's obvious Thing about her gender, is the constant use of she/her pronouns. Most of the hosts (sans tamaki) don't go out of their way to treat her like a girl in terms of like, social context, aside from a few bits that are implied to be instigated by tamaki (i.e. lobelia academy plot.) I will admit that the she/her-ing of haruhi is pervasive in the english translations of the show, but it's not actually an accurate reflection of the original content. Conversational japanese largely drops gendered pronouns from most sentences, meaning there's very little overt gendering of haruhi either way by most characters in the show. this is part of the reason why it's somewhat believable that she managed to pass herself off as a guy--it's actually entirely possible that she didn't KNOW that people were assuming she was male until the hosts made a big deal out of it, because it's unlikely she would be referred to by gendered pronouns in conversation with her peers. this is unfortunately one of those things that it's almost impossible to not lose in translation since english sentence structure relies so heavily on gendered pronouns, but i do think it's worth pointing out that in the original japanese the boys WEREN'T openly calling her a girl at every turn. except for tamaki who absolutely was but that's like his own whole seperate thing
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why not show the scrawls that could be wips 👉👈
you know what... you are right why not!
i do not carry a proper sketchbook with because... when i am outside, i don't often find the time to sit down to draw. Also i feel really anxious so most drawings i will show here did max take 30 sec to 1 min. because i basically scribble down the idea on the nearest piece of paper in the most recognizable way and then move on. at a later moment when i have time and peace, i cut them out and glue them in a very old notebook with cheep bleeding paper or a repurposed exhibition and theater program booklet. you know recycling? sort of, i think.
so here we go!
(i try to include ID in ALT text but its scrapbook pages with many small drawing)
if some images look familiar. its because the first scrap page contains the original sketches for these drawings of the fire hazard siblings and LINK, LINK, LINK,
some of the OC drawings were also created and posted here LINK
second image contains on one page the first draft for the teeth tutorial LINK, the third has the sketch for the jee and hawky sketch as well the idea for the kataang drawing LINK, LINK, LINK
sometimes pages are minimalist and boring looking though
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Immortality, Motherhood, and Pain: A Closer Look at Annalise and the Doll
Finally revisiting this from ages ago, because the parallels between these two are just SO fascinating. Content warnings for discussions of misogyny, genocide, abuse, and pregnancy/childbirth.
This analysis will cover the parallels between Miss Doll and Queen Annalise through the lenses of the misery of immortality, the trauma of marginalization, and the liberation they find in motherhood. Both the Doll and Annalise are undying, both coded as mother figures, both marked by death, and both very, very alone.
Miss doll and Annalise are the only characters in the whole game who are undying. You can kill them, but not meaningfully - not in any way that matters - and they seem to know it. Neither will try to stop you, nor will they fight back, should you choose to attack them. They will come back, and your violent betrayal will have seemingly meant nothing to them. They both are very aware they will outlast whatever violence you may inflict upon them. It's evidenced in their dialogue:
If you attack, Annalise says:
“Enough. If only Our life was so easily forfeit… Grieve not, for Us.”
“How sad this is. If only Our life was so easily forfeit…”
If you attack Miss Doll, she used to say:
“I must have displeased you. Go on, shut me down… Even so, this vessel will remain in your service… So have no fear."
I think this point of comparison highlights just how deeply they've both been desensitized to violence and abuse. They do not beg for mercy, they do not put up a struggle - they only remark on it with distant chagrin. They both seem keenly aware that their flesh need not be in one piece to fulfill its purpose.
But where Miss Doll was made to embody the Victorian patriarchal ideal of womanhood, Annalise wields womanhood as her last weapon against the dehumanization of the church’s genocide through her queendom. Upon being resurrected the next time you return to the dream, Miss Doll will act as though nothing had happened at all. However, if you bring her flesh to the Altar of Despair, Annalise will call you an arrant fool, and remind you that “Vileblood or no, forget not; We are thy Queen”. Miss Doll kneels to serve the hunter, while the hunter must kneel to serve Annalise. Miss Doll has been conditioned to passively accept dehumanization and submission, yet Annalise demands respect through your submission even in her dehumanized state. Miss Doll is subjugated by the trappings of womanhood, while Annalise is lifted from subjugation by her womanhood, in some ways.
I find this fascinating, however, because while Miss Doll appears in every way as a pure, demure Victorian woman was meant to, they are also dehumanized through the denial of gender. To Gerhman, their creator, they are nothing more than another tool of the workshop. An object. Even the Doll themself uses neutral "I" pronouns to refer to themself in the original translation. I think it is pertinent to note that the only canonical reference to Miss Doll as a "woman" comes from Eileen. In the original Japanese text, she refers to the Doll with a term of endearment reserved for young girls. Miss Doll's appearance is the historical ideal of the subjugated woman - yet when Eileen confers upon her the status of "woman", she does so in an endearing and humanizing way. Therefore, for both Miss Doll and Queen Annalise, the status of womanhood is a rebuttal of their own dehumanizing subjugation: Annalise as "queen", and Miss Doll as "daughter".
Both characters are arguably seeking/find liberation through motherhood. Miss Doll gets "Childhood's Beginning": their creator and animator have both been put down, the hunt is finally over and they are no longer bound to serve its participants, nor must they watch their beheadings. They cradle the newly ascended hunter. It is a highly atypical “motherhood”. It exists in the performance of the role rather than the biology of childbirth. In the same way, the Doll possesses a highly atypical “womanhood” which exists in performance alone, rather than in biology or even identity — but nonetheless, it is real, and it is hers. I, perhaps too optimistically, choose read it as humanizing for them; because unlike their “womanhood”, Miss Doll is allowed to choose this for themself rather than having it imposed upon them.
In the same vein, Annalise seeks to birth a child of blood for a similar but perhaps more somber reason. She wants a child because she wants an heir — which is to say, because it is the only way she may once again have kin. Because it is the only way she may fulfill her duty as Queen. She witnessed everyone she ever knew or loved — surely her own family included — slaughtered before her eyes. Annalise seems to seek motherhood in order to be a homemaker - in the most literal sense possible. She wants to rebuild the community, the home, which was so brutally torn away from her. She wishes to restore honor to Cainhurst. For Annalise, having a child is an open act of rebellion against the genocidal eugenics-frenzied bloodthirst of the Church. I can't help but wonder if part of the reason Alfred is so hellbet on destroying her, why the Executioners imprisoned her the way they did, was to strip her of bodily autonomy so she couldn’t “reproduce”. Her desire for a child is her way of seeking liberation for her and her people.
In this sense, taking up the role of a mother, of "women's work", is what confers the agency upon both Annalise and Miss Doll which had been otherwise stripped from them. Annalise's by the genocidal eugenics of the Church, and Miss Doll by the pact of servitude she was seemingly born into.
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