occasionally subtle
PUT YOUR BEARD IN MY MOUTH

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if i look back, i am lost
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@tragedyandterror

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Plot twist: the two boys you're choosing between are polyamorous, but they also hate eachother's guts so you still have to pick one
Sorry but watching them fight gets me off, I'm keeping them both in a jar and shaking it up and down every hour.
Enemies to lovers "who did this to you?" about scars? Great, of course. However, I raise you this: "I did this to you."
#yesss #and if it's pleased or proud or conflicted #excellent (via @ameliarating)
But the resemblance is uncanny…

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First base is violence second base is convoluted codependence third base is applying pressure to the vulnerable parts of their body to keep their entrails from spilling out
Lemon to a Knife Fight // The Wombats
another sketch i've been wanting to get around to! i love the duel scene, especially the in ur face juxtaposition of jack's injury with claire's miscarriage, so i wanted to play around with that! this was also partially inspired by this work from i_dwell_in_darkness! i love this poetic exploration of gender through bjr's inner monologue/stream of consciousness, especially the last stanza it's incredibly evocative!
full here!
two sketches fueled by @malicious-compliance-esq 's fic series pimping for england+dispatches from fort laggan! i just love these 3 together so much!

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polyamory would not always fix the love triangle. sometimes it would make it much, much worse. but they should do it anyway
@tragedyandterror I swear we were just talking about this on the Archive!
It's chewing on him chewsday
The best genre of family portrait is and will always be Husband With Multiple Kids Making Come Hither Eyes At His Wife
Barbara Krafft, Die Familie Anton von Marx 1803
Marie-Geneviève Bouliard,Monsieur Olive & family 1791
Going to add my fave - Family Portrait by Anton Einsle
Look at that Wife Guy!!!

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A wound is open, unresolved, a coming apart, a shock, its meaning indeterminate; a scar or disfigurement, on the other hand, stands at a greater temporal distance from the original inflic- tion. Wounds suffered in battle left the soldier in an abject, unresolved position in relation to the world, his body literally opened, his life and death dependent on the course of healing or decline his wounds would take; scars, on the other hand, were corporal evidence of healing as well as damage—a memorializing faultline on the body that reminded the veteran of the “before” and “after” that his life had taken upon the injury he suffered. Like settled or closed narratives, scars healed over ruptures and reintegrated the body back to its state of wholeness—but not entirely; despite traces of healing, and the myths that accrued around scars, the vestiges of an originary violence itself remained.
- Sarah Covington, Wounds Flesh And Metaphor In Seventeenth-Century England.