The Coywolf

Miguel - nwa ft. Kurupt

Waterboarding

"Physical violence usually precedes waterboarding, a sort of softening of the victim’s belly. I was stripped, beaten, deprived of sleep, water and food, and forced to lie on the floor, feet raised with my head slightly below the level of my feet. A piece of soaked cloth was thrown on my face, and fetid water was poured through the cloth to slowly drip into my mouth. This technique causes the fluid to build in your lungs. A key element of waterboarding is the ability to bring the interrogated to the verge of death without actually killing the person. That is what makes a good “interrogator.” I was lucky in this regard; my torturers were masters of their trade....
  
Waterboarding, like other torture methods, makes you talk. You talk a lot; say anything, absolutely anything to get the torture to stop. You throw up a lot, you talk, you scream like a demented person whenever you can, and you throw up again. You give all the answers you think your torturer wants, and more, but not much is true, precise, actionable intelligence. Torture transforms the victim into a fanatical and fierce opponent. Torture taught me the most corrosive diseases of the soul: hatred and revenge." (source)

The Organ - Steven Smith

The Sun Is The Sun

New Years!

How To Be Safe In North America

death mention: at the very beginning of the episode (about 0:20), arin says, “YOU. DEAD. ON THE GROUND.” this may seem like a small thing, but it may trigger dpdr and make some people dissociate. i don’t experience this myself, so please let me know if i’m wrong! (i’m mod r)

implied pedophilia warning: at 1:25, danny talks about how a lot of old men keep stopping arin, who is playing as the 10 year old girl trainer.

death mention: another death mention at around 1:35, where arin says “what will the old man do?”, and he immediately follows it with “die”.

pedophilia warning: while still talking about what the old man will do (a few seconds after the previous warning), arin says “hit on young girls”.

suggestive warning: at about 2:03, danny begins his rendition of how a pokemon battle works, and says you “whip out your dicks and sword fight”. this ends at 2:18.

ableism warning: danny says the heat is making them st*pid at 2:38.

animal cruelty (beastiality) warning: at about 3:16, danny says (on the subject of beating/capturing a pokemon),”when it faints, you can just drag your sack on it’s face and do whatever you want? because we could’ve been sack-dragging a lot of roosters at this point.”, to which arin then says, “yes to that”.

animal death mention: at 4:10 when capturing a ratata, danny says, “it’s fucking dead now, it’s gonna run out of air in there.” he goes on to say, “what if pokemon don’t shrink when they go in there, they’re just crushed?”, along with arin making some pretty gross sound effects.

ableism warning: at 7:33, arin describes the strategizing the pokemon series as cr*zy.

sexual warning: at 8:04, danny and arin start talking about their friend Spazkidin3d’s very suggestive cartoon about nurse joy.

transphobia warning: as they’re talking about Spazkidin3d’s cartoon, they begin to talk about their other friend Stamper (who voices nurse joy in the cartoon) and how arin would “slam Stamper” is he were a girl.

misogyny warning: at about 9:27, arin starts calling the pokemon bitch. danny says it again at 9:49.

(source) (episode of Game Grumps referenced)

A Portrait of Normal Rural Life in Sweet Mother Russia

Risky Attacks Gone Wrong

Fabiola - Part Six

The beds were slabs of chiseled stone decorated and made comfortable with tasseled pillows. Fabiola could make that much out through the edges of the smoke-stained doorway curtains as she groped her way along the dark hallway of the brothel. She could hear the people in the rooms. Heavy breathing, tell-tale moans, and rhythmic slaps. Gallus, her prey, had disappeared somewhere in this maze.
  
It suddenly occurred to her to wonder if her father had ever taken a boy. Her brother hadn't. Gallus, the young man from dinner clearly hadn't. But she knew from overheard conversations that men often took boys. They spoke openly in front of the invisible Fabiola, joking about the softness of a boy's skin, boasting of having made one a woman.  The elders would change the subject when it came up or if one of the priests came into the room. Or the men would turn on their own to describing the women who earn and their encounters with servants. Fabiola knew what men thought of the women in this building. She felt it too, even if it made her uncomfortable. They couldn't control themselves, these women; they needed men and enjoyed their taste. Those who weren't ravenous for men were simply lazy. This is what Fabiola had been told a hundred times; it was the assumption behind everything that was said. It was the reason that Fabiola hated being called a whore for the way she dressed.
  
Very few of the women in the brothel seemed to be enjoying much of anything. Fabiola stopped to gaze through one of the curtains of an occupied room. There was a man with long hair and a scar across his back, a soldier, with a soldier's body. He was on his knees, entering a woman from behind. The woman wasn't lifting her leg for display as in the lamp, nor was she looking back with joy. Instead she rested the side of her head on a pillow, moaning and breathing absently while the man alternated between slow and fast movements, grunting to himself. Fabiola could see the drug at work in her eyes. And while part of Fabiola pitied the woman, whatever her reason for earning, there was a part of her who at this moment remembered the feeling of finger tips on stone and wondered what it felt like to be alone with a man in a room.
  
Continuing along the hallway, passing women waiting to ply their trade and rooms occupied with heat and sweat, Fabiola did her best to look through the crack of each curtain, trying to find Gallus. She didn't even know his name, and it bothered her to know that he was here, but she was determined. She was determined because he was here, and because she didn't know his name.
  
Eventually, having reached the end of the hallway, she again heard Gallus' voice. Forceful, yet assured, he was speaking--of all things--about the wanderers in the sky. As Fabiola slowly approached his curtain, she heard also the laughter and purring voices of the two women Gallus had taken with him into the brothel. She was afraid to look into the room. So Fabiola stood silently, as invisible to Gallus as she assumed she had been at dinner. There, in the shadows, she listened as closely as she could manage.

Sigourney Sundays

Source

Battle Scars