tw bloody hell
I’m made this art, because I like this moment.
they are mad
comics in process. I made 4 pages!
6K notes
·
View notes
a scene with absolutely no context just hit me v intensely out of nowhere but. imagine a world where Steve's dad is just a little more powerful, a little darker, than in canon. and this mr. harrington doesn't know his son has spent the last five years fighting for survival, so when he finds out steve has been running around with the munson boy, he thinks it'll be an easy fix. steve has always been a soft sell.
he gets a call from steve, his son's voice giving him no time to even answer: "you pull that shit again, I'm sending the next one home in a body bag."
before he can even put down the phone, dial tone already ringing on the other side, he gets the message that the heavy he sent to intimidate eddie munson is in their medic's office with two spiral fractures and a shattered kneecap.
maybe steve could have gone into the family business after all.
4K notes
·
View notes
small reminder this pride season that in the natural world you will find examples of animals changing their sex [such as the peacocks, or those lions], or being multiple sexes [such as bilateral gynandromorphs], or similarly being what you want to call "naturally nonbinary" or "naturally trans".
it's fun to use these wonderful creatures as trans and nonbinary iconography, but please! don't forget your intersex siblings in your excitement. those are intersex animals, not trans or nonbinary
sincerely, a perisex bigender constantly bummed at the missed opportunity for cool pride art
3K notes
·
View notes
i think trans-affirming cisfeminism's problem is that it views trans people as a way of analyzing cis gender relations, so trans women are going from the status of cis men to cis women, & trans men vice-versa. there is no appreciation for "trans" as its own status, because that would require viewing transphobia as something the patriarchy does on purpose instead of like. something it trips into on its quest to oppress cis women exclusively. and this is also why by and large feminism (including trans feminists) has fucked sucked at talking about NB/GQ people's experiences without binarizing them
614 notes
·
View notes
Proship dni for my comfort thanks.
I feel like everyone portrays F/Os as these romantic, perfect all around lovers, and while that's all well and good! I prefer F/Os who are flawed, who don't always say the right things. Who can sometimes be petty or selfish. F/Os who have a habit of seeing conflict as a contest on who can talk the loudest, instead of a conversation. F/Os who run out of patience sometimes and have to go cool off mid-conversation, even if they're right. F/Os who struggle to communicate their emotions.
I find comfort in the idea of a relationship where mistakes like that are allowed and given room to breathe. A relationship where, no matter what the conflict is, the walls eventually come down. Maybe it takes hours, maybe days until you're both calm enough to work it out. Maybe it takes several conversations to solve it, but each end in Hey. I love you. I'll talk to you tomorrow.
You're not perfect, and neither is your F/O. That's okay. That can be beautiful, too. There's not a hug that's more comforting than the firm, tearful one after reaching mutual understanding. Knowing that you didn't mess it up too much, you didn't break things permanently. You couldn't if you tried. They missed you... and you've got some serious affection to catch up on.
449 notes
·
View notes
i love revenge tragedies so so much because they have so much potential to explore such a nuanced and complex topic and give it the consideration and care it deserves. revenge and revenger characters are such powerful narrative tools, both of catharsis and self reflection. a good revenge tragedy will not tell you that "revenge is bad, seeking revenge makes you just as bad as the people you're seeking vengeance against, and nonviolence and forgiveness are the only paths to building a better world". a good revenge tragedy will present you with a really difficult and complicated situation, even something absolutely unforgivable, and ask you to consider questions like "will this really help anyone?" "am i doing the right thing, or am i just doing what feels good?" "how far can you go before your quest for self-empowerment and personal satisfaction becomes perpetrating the same violence that you claim to be fighting against?" "what else could i do to help build a better future for myself and others, to ensure that the cycle of violence doesn't continue after justice is served?" "what went wrong here? how did something that seemed so right go so wrong?" and "what would i do in this situation?"
sayings like "those who live by the sword will die by the sword" and "those who fight monsters should take care they don't become monsters themselves" often get oversimplified, misinterpreted, and used to criticize people from feeling justifiably angry at their mistreatment and oppression, and discourage them from seeking the restitution they're owed. but when used correctly, a good revenge tragedy will employ these ideas as tools of teaching and learning, of questioning and discussion, of analysis and communication, and as a reminder to think critically and to think for yourself, not as a moral lesson. and those stories are so incredibly and important and valuable to me, and i believe that they have a very necessary place in the world.
4K notes
·
View notes
We always talk about Aziraphale discovering secrets about Crowley's fall in heaven, but have you considered the opposite?
Do you think Aziraphale ever walks through heaven's endless archives, trying to find something, anything to help stop the wheels that have been in motion for millennia? If he does, one day he might find a pile of dusted files, all of them marked with a name that is nothing more than a smudged ink blotch. He knows now that every fallen angel's name is erased like that, their identity wiped away like a fingertip drawn through wet ink; the rough evidence of their existence remains, the shape of a black hole where grace should be.
Aziraphale is alone in the stretching corridors, there is no one else around, and even if another angel were watching by chance, nothing about what he is doing is forbidden.
(He would not care if it was.)
So he opens the file and pulls out its contents, only to find himself surrounded by ink-black darkness. Electricity crackles through him, sharp but oddly familiar, and he lets out a breath he didn't know he was holding. Seemingly out of nowhere, an angel clad in white with hair like fire appears next to him. Aziraphale does not remember their name, but he would know this face even if it were wiped from his memory; the elegant features are both fragile and powerful, and so, so loved. When one of his hands reaches out on its own accord, the memory flickers as it goes straight through their face, and with a sense of broken, golden loss, he cradles it against his chest.
They are holding a flickering light within their palm, a proto-star, one of the very first designs, and with a soft blow of air from them, it takes flight. Spinning slowly, its light spreads and spreads, taking most of the darkness with it, yet even as the bleached sterility of heaven begins to shimmer through at the edges, the Starmaker's smile is bright enough to drown it out.
"You're beautiful," they whisper, their hair moving like a flame in the wind as the star expands and nears its collapse.
Aziraphale does not notice the tears flowing down his cheeks as he watches until the star goes supernova, until the Starmaker turns and takes in the glittering clouds of spacedust, their smile and eyes wide and alive, until the memory fades slowly like a dream in cruel morning light, and he is left alone with a scratched-out name and a hollow grief in his chest.
672 notes
·
View notes