This Is How Angst Writers Look Writing The Most Emotionally Damaging Shit You've Seen In Your Life

Everyone reblog this IMMEDIATELY

AND THEY’RE FUCKING CORRECT

HOT THINGS THEY DO 2

part one

MATSUKAWA. grabs your throat to kiss you. you can feel the cool touch of his rings on your neck, the soft yet firm grip doing more to you than you’d like to admit, but he knows. the grin on his face says it all, and with a tilt of your head his lips meet yours.

USHIJIMA. leans down to hear you better. he’s only doing it to be polite, you tell yourself, that’s all. but the sudden close proximity always catches you off guard; you’re able to see just how long his eyelashes really are. he never quite understands why you get so flustered… or does he?

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(Source)

hey don't be sad. deeply silly 18th century Iranian bird scissors.

(source: benaki museum, auction)

the art is *chef's kiss*

Whatchu gonna do? Stab me? :D

You: Why are there two different dates on this single comic?

Me: Hehe... Draw at 11:00PM on 11/2, then finish at 2:00AM on 11/3. :D

Edit: Eyo? 69 notes? *wiggles eyebrows intensively* :3

Edit: Oof and YAY! *Inserts megamind meme* No more 69? :/

Azula as the Ophelia of the Avatarverse (Warning: possible mention of self-harm and/or suicide)

If I had to compare Azula to a well-known literary character, it’d be Ophelia from Hamlet. It might seem weird to some people to read that. On the surface of the narrative, Ophelia is very much a passive victim, and Azula would set you on fire if you ever described her that way.

The worst thing to call somebody is crazy. It’s dismissive. “I don’t understand this person. So they’re crazy.” That’s bullshit. These people are not crazy. They strong people. Maybe their environment is a little sick. (source)

Something is rotten in the state of Denmark. (source)

Banishing me was they best thing you did for my life. It put me on the right path. (source)

Nevertheless, there are strong parallels between the two in that they’re both teenaged girls whose mental deterioration is directly connected to their toxic environments and the failure of the adults in their lives to intervene before a major mental health crisis.

Even so, most analysis of these characters take a more individualistic approach, aiming to understand what’s wrong with Azula or Ophelia instead of examining the conditions that lead to the outcomes of these characters. In essence, they ask, “What is her problem?” when a more fruitful question might be, “What’s going on that allows this to happen?”

When Ophelia appears onstage in Act IV, scene V, singing little songs and handing out imaginary flowers, she temporarily upsets the entire power dynamic of the Elsinore court. When I picture that scene, I always imagine Gertrude, Claudius, Laertes, and Horatio sharing a stunned look, all of them thinking the same thing: “We fucked up. We fucked up bad.” It might be the only moment of group self-awareness in the whole play. Not even the grossest old Victorian dinosaur of a critic tries to pretend that Ophelia is making a big deal out of nothing. Her madness and death is plainly the direct result of the alternating tyranny and neglect of the men in her life. She’s proof that adolescent girls don’t just go out of their minds for the fun of it. They’re driven there by people in their lives who should have known better. (source)

You could argue that Ophelia’s fate is a consequence of the rottenness in Denmark. Thus, her decline and death can be read as an indictment of the court at Elsinore. Ophelia clearly needed help from the moment she found out Hamlet killed her father. But where was everyone? What were they doing? Why didn’t someone say or do something?

The same thing can be said about Azula. What befalls Azula at the end of the show is a direct result of the corruption of Fire Nation society. That moment by the bonfire in “The Beach” was a cry for help, but why did no one see it for what it was? Why did no one even attempt to help? Where were the grownups who could have stepped in? True, it would’ve been tricky considering her disposition and social status, but not impossible.

More importantly, what does all of this say about the societies that Ophelia and Azula live in? What’s going on in a society where people so clearly in need of help aren’t getting it? What does that say about who that society deems indispensable and who it deems disposable?

How are we encouraged by the narrative and by audience reactions to notice Ophelia’s vulnerability but not Azula’s? How does this reflect our society’s attitudes towards teenaged girls who are mentally ill? What are some things we can do differently to push back against those attitudes?

I donated to a gofundme for someone in Gaza. Do you accept those donations for commission?

Yes! Any donation to a cause that isn't bigoted is welcome for comissions. Just send me a message with proof and your request.

hes so damn fine

That “Wakanda Forever” features Indigenous, brown-skinned characters with supernatural abilities living in a mesmerizing realm allows anyone who connects with Huerta’s principles to finally feel respectfully represented. The film also challenges media companies and artists in Latin America and beyond to rethink their portrayals and inclusion of people of color in their projects. “The success of this movie tears down the arguments of racist and white supremacists in Mexico, and everywhere, who claim brown skin doesn’t sell or that representation doesn’t sell,” Huerta said. “It’s beautiful to see ourselves represented in a different way.”

Tenoch Huerta for the New York Times .