#<- last 2 tags. Trust

[fangsiege]

the sharp

[moriipoda]

"this is me on day one of NO rendog !!"

[wasabijean]

osmosis jones sketch dump but it's actually a sneak peak into the inner machinations of my mind

[bonivers]

tagged by the beloved @grubbygrrrl to post 9 albums that got me through 2024 🎧

tagging @lovetruly @miffygirls @cyb0rg-bby @tulipmp3 @tuckerrule @satuurnos 🫧🫧

[artem1sc0re]

Hehehe collab art I did for me and my partner @nickthenoncomedian ’s 2nd anniversary ⸜(｡˃ ᵕ ˂ )⸝♡

Also a silly little video here :P

[milkbreadtoast]

doodled Stayn from living with magicians webtoon... I like him :) (just felt like drawing random webtoon characters fsr lmao)

[meowsticmarvels]

ok one more thing. absolutely criminal that phi and akane don't interact more in ztd because to me they could be besties...... if you even care

[cupcakerias]

when this blog goes on hiatus i always post my pals i made for the fandom i abandoned this place for lol

[scionshtola]

all of my casters are at 100 now \o/

[ulteri0rm0tives]

'Good fuckin' riddance. One Arasaka whackjob is already plenty.'

[sol-dial]

I come back from the void to ramble about the Avengers Assemble cartoon, so be prepared hehe :3

TL;DR/Main idea

The near end of season 1, episode 22 "By The Numbers" is what Steve’s painting of Tony in season 2, episode 19 "The New Guy" (..maybee..?)

I’m looking at this through a Superhusbands lens sooo beware qwq.

Brief spoilers for both episodes, soo yeah!

"By The Numbers" is Tony feeling guilty for allowing Red Skull access to all their training recordings and how to easily defeat them, so Tony fixates and obsesses, to an unhealthy extent, of numbers and statistics to determine the team's next moves. 

Throughout the episode, it is shown that Steve is worried about this and comforts Tony a bunch (dealing with fear and how to react to it, telling him to depend on his team). 

At the end of the episode, Tony re-watches the failing of the Avengers, well more specifically Tony's failure of leadership. It was a huge impact on him (shown beautifully without words and all body language even with the armor and not showing Tony's face) since he pushed the Avengers too far. There was a point where Tony looked on helplessly while one by one, his team was dragged and thrown while looking very beaten up. 

Anyways, so Tony is re-watching the videos and looks haunted and defeated. Steve suddenly walks up to him, holding a yellowish-green-colored cup in one hand.

He comforts Tony again and seems to raise the cup higher, whether to drink it himself or as I see it, as an offer to Tony.

The episode ends with everything fading into black except for Tony's defeated posture.

Now to "The New Guy", which is basically Hawkeye getting over his trust issues with Ant-Man via communication. One prominent moment is where Hawkeye confront Steve about his distrust in Ant-Man while in Steve's room, while Steve is painting. In the background are some paintings that Steve had made in the past. 

One painting that gets a bunch of attention is the one that has a tired-looking Tony staring at whoever is in front of him while holding a cup in one hand. 

I believe that moment is the same one as what could’ve happened off screen after the ending of "By The Numbers” since I can literally imagine Tony, who has probably been through a lot that episode, accepting the cup of coffee albeit grumpy since the two were clashing throughout that episode.

I feel that what Tony was feeling in that episode is conveyed perfectly in Steve's painting. Plus, with the style of Tony in that painting is so season 1, with his thin noodle arms (prominent through shirt sleeves) compared to season 2 having Tony be more defined. Plus, the painting looks like it was at Tony’s lab, the same background where Tony was in “By The Numbers”.

I truly believe that ending of that specific season 1 episode is the inspiration behind the gorgeous painting of a grumpy Tony accepting that cup. Is it a stretch done by a gal who is looking it through a superhusbands lens? Mayhaps.

But, I can so see Steve being greatly affected by how greatly affected Tony was about letting down the team and let the odds control him, thus Steve wanting to capture the moment where Tony learns to depend more on his team (which he definitely does in later episodes and seasons).

It's so adorable because would that mean Tony was looking at Steve like that and Steve decided to paint that? Was it a memory that Steve had, a situation he wanted to have? Because that specific painting is like Steve caught a moment he had with Tony and kept it immortalized forever! :D

[iamnotawomanimagod]

I like drama and angst as much as the next person, but I have to admit, this season is a pretty big bummer

very little comic relief to break up this entire first hour of grief and regret in the third episode

and that's okay, I normally love tragedy, but I guess it wasn't what I was expecting or really seeking from Misfits and Magic.

I'll keep at it, I love these characters, players, and this DM so much, but right now I'm definitely dragging my feet a little. it's very heavy for a season of Dimension 20.

[lazaruspiss]

dick grayson 🤝 cahara funger (🤝 most my favs past and present tbh)

suicidal comic relief character

[aliusfrater]

Would love to hear about your thoughts regarding It’s a Terrible Life because it tends to be one of the most. Disputed episodes. I know it’s often understood as indicative of Sam and Dean’s true natures (which is how you get one million posts about Sam wanting a normal life in theory but would never have been able to live like that while Dean actually desires normalcy and domesticity) but I feel this ignores the context of the episode. The episode is a little horrific because of how Zachariah fucks with Sam and Dean’s minds and implants false memories and lives but I’d say the way they both approach this is telling; with Dean assimilating into and acting accordingly to his given role and Sam trying to understand and analyse a world around him that doesn’t quite make sense. He doesn’t want to hunt because of some innate desire or just the thrill of it but because hunting means something else in the context of this world than it does to Sam normally.

no yeah i've spoken about exactly this before from this perspective of deconstructing the shallow and, quite frankly, (unintentionally but what usually tends to be a purposefully) omissive fanon-popular interpretation of what seems to be the audience's uncritical adoption of zachariah's narrative in regards to his fallacious establishment of hunting as sam and dean's true selves/destinies largely because it suits existing fanon ideals as it relates to 1) the fallacious attributions of sam's monstrosity through the dichotomy of monstrosity and towards some kind of unknowable and inevitable evil mainly as it relates to how much more tightly people apply the Rules Of Hunting to sam when it comes to his role as Sammy proxy dean, because it's what dean does as well (ie. sam as the protected but agent innocent—the standard of an inherent innocence to be maintained magnifies the effect of his involvement in the Dirty Work of hunting. there becomes a higher standard regarding sam's hunting mortality in comparison to dean, as the righteous protector), and how that factors into the compartmentalisation of sam's identity into monstrosity. as in, along with existing misinterpretions of sam's season four arc, it's further applied in a sense that indicates a belief that sam finding agency within hunting as indicative of his monstrosity. and 2) the ideas that dean secretly doesn't actually want to hunt and that sam keeps him tethered to hunting.

obviously, within the actual context of the episode that i spoke about in the linked post of zachariah specifically recreating an environment around their existing Roles that will facilitate their existing agencies towards a desired outcome, his perspective as a third party character observing sam and dean—which tends to be some kind of badge of honour to this audience in regards to uncritically adopting their perspectives rather than understanding them as story devies and applying them within an analysis of the circumstances accordingly—becomes one that is explicitly manipulative. in terms of looking at the circumstances wrt analysing the mechanics of sam and dean's characterisations, on behalf of wider season's conflict regarding the framing of the apocalypse and (later revealed) sam and dean's roles as lucifer and michael's vessels, respectively, as the True, fated outcome that hunting had been grooming them towards but that they ultimately thwart, zachariah's fallacious and later thwarted simulation of the company -> hunting, the structure of the company within which sam wesson and dean smith work and have next to no life beyond becomes mirrored with their isolated upbringing within hunting, which i think is exacerbated within the context of season four's repeated references to sam and dean's childhoods within the john-dean-sam dynamic from sam and dean's point of views and sam's specific agencies as Othered within both contexts. sam wesson literally has visions and dean is sam's boss but they're both ultimately working under someone else. this show isn't subtle about The Roles lmfao. anyway, the point is that i think the exploration of their characters in regards to the larger season four arc as well as its explorations of their base motivations builds off of that as the foundational thematic context of the episode. like you said, hunting is hunting, but within the context what it means regarding their circumstances and sam's push towards it as well as dean's adoption of sam's agency, it means something else—it means something similar to sam's season one diversions from his familial role and his critique of the familial dynamic and hunting in general and dean's adoptions of aspects of that even as sam regresses into assimilating his familial role as his character encounters outside influences regarding his arc centred around his monstrosity throughout the season; it mean something about sam and dean's core agencies, its push and pull relationships, who, and what's at its centres.

i've said exactly this when discussing literal esaays published about supernatural with you before but it remains mind boggling to me, the idea of people seemingly loosing their ability to place themselves within the context of the perspective of the world we're given and how to mirror it with real life allegories as soon as it's time to analyse supernatural. suddenly dean is an intentionally subversive character because he subverts the life the author is writing about him from within or hunting is necessary and righteous, because it's what they would prefer to believe in order to preserve the structures these interpretations pillow that they also simultaneously are adamant they're exploring over analysing the actual fictional world, its perspective, and the watsonian recreations of certain structures that's presented to us through supernatural as a story. it's fandom discourse yeah but it also makes me feel like that scene from akira whenever i recognise the legitimate beliefs that tend to be the culprit for facilitating these kinds of willful interpretations of canon.

[pup-pee]

some more landfill doodles i found in my camera roll

[superwingscentral]

blank version below the cut so you can do it with your fave