#[ he really is p much into anything ]

[woolysstuff]

I AM SO NORMAL ABOUT HIM

Evil!Sun my beloved (Edit// This Evil!Sun is from TSAMS and is not an AU of mine guys)

Bonus doodle

[zylphiacrowley]

Dawnblazer ☼

[faunandfloraas]

The Nobleman or 양반 (yangban): The smiling face represents the bluff and composure that an aristocrat is often known to have. The chin is a separate piece from the top of the mask, and the actors can lean forward and back to make the mask smile or frown as needed.

This monk who abandons his doctrines, or 취발이 (chwibari): Chwibari was originally a monk, but he had no intention of joining the monastic order, so he came down to the world and wanders. Represented with a forehead full of wrinkles and spots.

The widow or, 부네 (Punae/bune): represented to be a widow, or a kisaeng ( a woman who sang, danced, or played an instrument to provide entertainment for company at a drinking party), or a mistress of the Yangban. She has a very small mouth, round cheeks and forehead- giving a general look of happiness good-humor.

[snekdood]

so uh

for 1. most people are gonna take advantage of black friday and wont see your specific niche tumblr post, I hate to say it

2. the us isnt running out of money for war any time soon, so...

3. this is just antisemitism???????? all we need is some (((echoes))) around the us and israel and then I'd have no reason to suspect otherwise from op...............

[omppupiiras]

@kaarija-inktober day 4, prompt: screaming

AHHHHHHHHH!!! he stepped on a lego! 💀

[greatgoddyke]

giving him a swirly

[helmbarte]

[celtrist]

Why does Vassago already have merch, we haven't even met him yet

[sysig]

My fourth wall OCs! ♥ (Patreon)

I tried to put everything in the tags but ended up being too long-winded lol, so here it is instead!

For this year’s big behind-the-scenes project, I realized I haven’t given colour references to a lot of my 4th Wall characters! There are...a surprising proportion of femboys who are aware of their existence here now that I look at it lol - I mean technically only Cory and Mint count there but that's still 2/8 - a fourth is kind of a lot! Their sizing is pretty funny to me as well, Cory’s proportions make everyone else look tiny by comparison, he’s just got a very large eye! Set right next to Gijat too, Vortians are so compact - he’s fully grown he’s an adult he’s just small!

Okay, for actuals now, starting left-to-right - while they’re obviously organized by height, it's funny because Cure is also the oldest by creation date. She's front of the line on everything! How silly. She's larger than your average plush bear but only by a little - just enough to be like Mildly intimidating if she approached haha. Puntable - and yet unpuntable lol. It's not just her being the oldest of the lot that makes her more powerful (although that is a contributing factor - she’s aware of her status both in and out of character!). It's not just Kids Rules either since she was made such a long time ago - y'know like ''Oh yeah well my character is [very powerful for X reasons]'' - although yes Also That lol. She's a Fourth Wall OC down to her roots, always intended that way - not everyone here can say that!

Tala also has that edge! Though in a very different way haha - she's also the only one here with a physical counterpart, which is fun :D Means she can go on “actual” adventures and bring that knowledge back with her cartoon versions - both are as real as the other! I keep forgotting her bow, agh, I need to take some more pictures of her sometime so my mental picture of her is more up to date haha

I guess my blankslate HF expression kind of counts?? Lol, it’s mostly for funsies, they’re more like a Concept As Person so?? Sure lol, With Accessories of course lol - haven’t been fighting it much lately so that’s all for now ♪ I wonder if they’ll stay so lucky in the near future hmmm

Gijat! ♥ He ended up being an accidental fourth wall character actually haha, he wasn’t designed with that in mind! He's not meant to know such things, but he did fairly well with it while he was part of the main rotation :) He was designed to be a story character but he ended up being my favourite comfort character so he got a few glimpses out <3 He hasn't for a while though! He's been retired for a long while actually - he's the second oldest character in the lineup after Cure but she had more staying power, sorry Gi <3 I did draw his fairy version not all That long ago tho! It’s hard to let go of anyone for Too long haha

Cory ♥ My sweet special boy <3 He's also the third oldest here! He was the first one to assert himself as a fourth wall OC haha ♪ Cure didn't really congeal into an OC for a long time - she stayed a concept and Gijat was on accident - whereas Cory purposefully and clearly looked outward from the start. He Has a story but it's never been all That developed - he has some non-4th Wall character-friends but his main focus is other, unrelated characters. He's always been very interested in other OCs, a lot of which stems from Bar actually haha - he and Bar are near-contemporaries - they're both featured here for a reason haha

Mint >:| He's...fine. He was inspired from a weird source and has therefore always Been weird - and also asserted himself like Cory. Same story - he has canon story elements but for the most part he's interested in others! Usually in a Pursuit kind of way, and not just limited to my OCs >:/ He needs to behave himself is what - he also has like 1000 outfits and they rarely repeat, ugh, pick one! I wasn’t familiar with the eGirl aesthetic at the time I made him, but he 100% fits it, look at him in his elf ears and heterochromatic contacts smh. I don’t actually know his real eye colour, or hair colour! He wears contacts and dyes his hair and won’t tell me, he even started dating a non-4th wall character without asking! He’s a real wild card

Erase is probably the babiest of the list despite Tala being newer and younger - everyone else was made before Erase! They’ve had had less screen time and less development than everyone else too.They're an incredibly light and oddly harmless fourth wall presence lol for all the danger They pose in Their story :0 They're fairly polite all things considered. They actually have a degree of respect for the fourth wall - unlike Some people (Mint) - probably from acknowledging The Player/Character vs. developer. If there's a hierarchy capable of being distinguished then Erase is going to place Themself in the safest spot. Y'know - to cause problems from lol. I do need to play with Them more - They're fun! But fun isn't quite enough to be full-fledged Interesting just yet, more to do, more to do

It's almost unfair to have Erase right next to Bar lol - possibly my most Interesting OC of all time. First created in 2015 quite soon after Cory, even in the same notebook! He retired in 2017, I think? 2018 at the latest - and then was revived in 2020 and has been here again since. And that's just his timeline! Not counting everything that went into him character-wise. Obviously my sonas don't count as 4th wall OCs because y'know - they're me - but Bar falls kind of unclear of the line between OC and sona, he's always been a weird one. He was initially meant to be an RP character and then over time he developed into a 4th wall OC/sona of a Kind. Nowadays he's a fully-fledged 4th wall OC by design - his change in design from his 2020 revival was meant to represent his transformation thereof - but he's always been weird! If I had to pick a character that I’d consider “overdeveloped” or put too much of myself in - even more than some of my sonas - it'd be him. He's one of my favourites because of that but it's hard to quantify how exactly I feel about him haha. I love him! It's painful! He's great! He's awful! He's very important to me and he'll never return to being what he was first created for again. I do quite like his new design <3 Paying homage to the video that sent him crashing back into relevance for me haha

It was fun to draw everyone :D And it's nice that they all have colour references now! Mint has definitely been the longest without one, everyone else has had at least Something - even Erase! And They're way newer! I did make Mint in a couple online dollmakers but that's not quite the same thing haha, he really needs his clothes hand-drawn :P

It's good to have them all :) They're a fun bunch and I like all of them <3 I think it’s kinda funny and a little strange how few crossovers they’ve had with each other though! So far it’s really only been Tala-Bar-Cory - the rest are aware of each other but haven’t really met, how strange, considering what they are!

[elvenechoes]

Prompt 3: Sketchbook

"Sketchbook" immediately brought Beryl to mind, and I thought it would be cute to have her looking through her grandfather's sketchbook. And then I remembered that I actually inherited some of my own grandfather's art and I thought it would be neat to work that in there. So credit to Nagyapa for those little art pieces :)

[puhpandas]

its been so long since human content/new content with no book relevancy even the youtubers and theorists like dawko and john are getting restless😭

[spaceyderg]

What would happen if different variants of Eddie (movies,comics,cartoons and original takes) would meet each other?Honestly the Venomverse is way more chaotic than spiderverse

Probably nothing good 😅 I think my Eddie is the more outwardly jealous of the two even more so then Venom. I recall one panel where Venom didn't really want to choose between Flash and Eddie as they love them both very much. So Eddie afterwards, while on good terms with Flash probs still feels a lil left over jealousy over it.

My Eddie wouldn't have much patience with his other variants, especially those with a more chaotic relationship with their respective symbiote. He's aware his version of Venom is pretty chill in comparison so when other Eddies comment on how his Venom seems nicer he goes all guard dog like HEY this is mine! Work shit out with your own partner! 😡

Honestly I feel a Venomverse scenario wouldn't be organized at all, I feel it would be a bunch of different Eddies yelling at each other, while the non Eddie variants just try to form some semblance of a team. I heard there's some wild stuff is going on in the Death of the Venomverse comic but I'm not sure if I wanna read Carnage just going around murking everyone on sight😅 Venomverse is still one of my fav comics cause I just love all the fan service of seeing different characters with the symbiote.

[kuromi-hoemie]

feel like I've genuinely spent at least a quarter of my day too horny to think. i was going to do some kind of art today but I've been thinking about the boy...

[threewaysdivided]

How Different do you think Young Justice Season 3 would have been had Jay Olivia and Michael Chang returned?

[For context, we’re referring to this post where I broke down the major writing/directing credits for each episode of Young Justice Season 1 and found that former Teen Titans 2003 directors Jay Oliva and Michael Chang had handled over 75% of the episodes in Young Justice Season 1 before vanishing from the credits of all later entries, and this post where I summarise how those later entries actively destroyed the arcs, themes and narrative of the original season.]

TBH it’s kind of hard to tell.  I have a few ideas, but like I was saying in that first post, it can be unwise to pedestal one or two members of a creative team when there are so many factors that can impact the final quality of a work.

Here I think it’s important to mention what a director does.  In situations where the director and writer are separate roles, the job of the director is to adapt the script to a visual form – working with the writers/editors to make changes as needed.  Directors direct how scenes are constructed, presented, acted and “shot” – which affords them a great deal of subtle influence over the pacing, focus and framing of a story.  The visual language of film can do a lot to control what information the audience prioritises as important, and how they interpret/perceive it.  Unsurprisingly, when you have bad, fragmented or inconsistent directing, you end up with stories that lack direction.

While Chang and Oliva having such a presence in the direction of Season 1 definitely lent it some of their specific personal creative flavour, I also think a lot of the major benefit came purely from having two people (and likely others who formed part of the S1-specific creative team) who were experienced in working together and had direct input/oversight of more than 75% of the season from start to finish.  That kind of creative cohesion makes it easier to track and maintain the continuity and progression of a narrative.  Compare and contrast with Outsiders, where you have a rotating shift of three less-experienced directors and a huge revolving door of new writers, with no-one working on more than a single episode in a row, the same directors almost never getting paired with the same writer twice, and a general sense that the story was being produced episode-by-episode with very few people having a clear sense of what had come before or would follow after.

One of the challenges is that the declining quality from Season 2 onwards points to something being fundamentally broken in the creative process at DC Comics/ Time Warner productions.  Young Justice Season 3 was the straw that finally broke my trust in Detective Comics Comics but it came on the heels of things like the original Suicide Squad movie (see this Folding Ideas video for an excellent dissection of those production and editing issues) and the transparently marketing-driven disaster that was Batman vs Superman.  It feels rather like modern-day DC is producing the in-house equivalent of shovelware: underinvesting in the timing and budget that its creative teams need for proper writing, editing, revisions and post-production in favour of churning out superficially saleable high-profit-margin products to cash in on recognisable IP’s and existing fandom markets.  Faced with that kind of incentive structure and production-crunch it can be very hard for a single (or handful of) creative team members to make course-corrections.

That isn’t to say that good media can’t be produced under tight conditions, but doing so generally requires a well-thought-out creative plan for the project.  And unfortunately, that kind of plan is something Greg “I don’t write endings” Weisman is notoriously bad at both creating and sticking to.  This was one of the problems I ran into when doing my YJ: Invasion autopsy: while you can correct some of the surface level problems, the root issue lies in a core story that’s bad from base principles and fundamentally incompatible with what came before.  Again, this can be overcome if other production team members are given enough time and creative authority to review and revise that story-core, but that doesn’t seem to be the production environment S2+ was allowed.

With all that said, I think it’s safe to conclude that, under the circumstances, Young Justice: Outsiders was likely always doomed to be a mess.  The combination of a lack (or even discarding) of a clear show-bible to act as a guide, a lack of clear project-plan (or, at least, plan-communication) from the showrunners,and a lack of pre-/post-production time for other team members to figure out what story they were even telling is pretty much a guaranteed recipe for narrative failure.

However, assuming that a pair of Oliva/Chang-like directors had been on the revival team, with input into most of the episodes, I think we might have at least seen some improvements to execution:

Firstly, we may have seen better cohesion and focus.  In the multi-layered onion of bad storytelling decisions that is the later seasons, the outer layer that many people seem to have bounced off is that it’s hard to care about what’s happening.  YJS2+ are boring and badly paced on rewatch, and a not-insubstantial part of that is bloat.  There is a plague of random new characters, exposition and world-details that don’t meaningfully contribute to the narrative (and for the record, I should clarify that ‘narrative purpose’ is a lot more than just ‘plot advancement’ – the problem here is that these elements are actually purposeless to the point of being distracting), scenes and ‘jokes’ that overstay their welcome due to a lack of proper substance, and ‘twists’ that exist for expectation-subverting ‘shock bait’ rather than moving the story. 

At a surface level, the later seasons desperately needed someone to ask: both ‘what is the focal point?’ AND ‘what is the purpose of this moment/scene for the story?’ and actually make Greg Weisman give them a coherent answer beyond ‘just trust me, it’ll be totes smart when you (read: I) figure it out later’.  Like I’ve said before, there’s a lot of fat that could have been trimmed; shallow scenes that could have been reworked to serve characterisation and themeing, ‘references’ that could have had their screen-time reduced to passing easter-eggs, and other wasted time that could have been better allocated to developing a core cast of ‘focus characters’ with an understandable dynamic to help anchor the broader character web in a relational status quo.  Considering what we saw of Season 1’s character-focus, and Oliva and Chang’s previous involvement in Teen Titans 2003 (which was also very good at prioritising, reinforcing and maintaining characterisation/ character dynamics) I think some improvement in story-focus, especially towards characterisation, could have been achievable.

The other gain we could have potentially seen is more sensitivity and tactfulness in the presentation of certain story beats/ characters.  For this I want to highlight framing:  whether something is respectful or offensive comes down less to the inclusion/exclusion of particular elements and more to the way in which those elements are presented to the audience – the priorities, assumptions and worldview revealed by the delivery.   

Let’s do a couple of case studies just to get our heads around the idea:

For Example One, we’re going to make the point by jumping straight in the deep end of sexual assault and fanservice in media feel free to scroll to the next paragraph if this is a no-fly topic for you.  Our contrasting studies will be The Millenium Trilogy (a noir series I’ve previous referenced in contrast to the YJ revival) and the shounen anime Sword Art Online, both of which contain assault and rape scenes.  Millenium’s depictions of assault keep the perspective on the victims, focusing on the pain/ powerlessness/ degradation/ anger they experience during and after the violation, and examining their reluctance/ aversion to reporting these crimes, while maintaining a respectful detachment towards describing the acts themselves.  In contrast SAO contains an infamous scene where an arc villain attempts to rape the female lead, while the camera fixates on the fanservice of her breasts quivering as he tears her shirt off (in addition to a concerning amount of other fanservice scenes where female characters are penetrated, groped or “peeped on” in ways that are clearly nonconsensual and unwelcome).  From this we can conclude that the issue isn’t inherently with sexual assault being present in a story – how it’s framed makes the difference.  The Millenium Trilogy respects the autonomy of its female characters, using assault scenes as an important narrative device to confront the audience with the violence of systemic sexism and condemn the cowardly entitlement it enables as part of its wider critique of misogyny; Sword Art Online degrades, objectifies and disregards the autonomy of its female characters by using narratively unnecessary sexual assault as a vehicle to ‘reward’ its target audience with fanservice.  What matters is how the subject is handled: is the sexual assault of women treated as a serious problem in need of criticism or as a guilty-pleasure ‘treat’ for boys to enjoy?

Moving to a gentler and more home-field example, let’s compare how pregnancy is handled in Young Justice Season 1 vs Outsiders.  It’s easy to overlook in the wake of the brick-to-the-face that was “you got a baby in there!” but Season 1 also included pregnancy as a plot-beat; Queen Mera announcing the news that she is “with child” during the episode Downtime.  However, there’s that difference in framing:  after it’s announced, Downtime quickly moves past the physicality of Mera’s pregnancy to focus on why it’s narratively important - because Mera and Orin are the royals of a hereditary monarchy and their child will be first in line to the throne of Atlantis.  Despite this being her only episode in Season 1, Downtime also gives Mera multiple characterising moments outside of child-bearing; introduced her first as a Queen and teacher/mentor to the students of the Conservatory, and later demonstrating her power as a battle-mage during the Manta-trooper attack – her pregnancy being almost a footnote outside its narrative-relevance.  By contrast, I think the reason that “baby in there” line from Amistad gets memed so heavily is because it highlights Outsiders unnecessary fixation on the physicality of female characters being pregnant, in addition to a disproportionate tendency to depict female characters as married, pregnant or mothering in the absence (or even at the cost) of narratively meaningful plot or character development – reducing these characters to little more than “pregnant sexy lamps” (as @mimeparadox so eloquently put it in their recent review of similar issues with the Gargoyles revival).  Again, the difference is execution: where Season 1 used pregnancy in a character-specific and narratively-relevant way, Outsiders not only assumes but enforces it as the expected path for female characters – sacrificing both characterisation and screentime for a subtler form of fanservice: one that reinforces and validates a specific worldview of gender (and which has been increasingly revealed to lurk beneath the surface of performative ‘feminists’ like Eric Schneiderman and Joss Whedon).

At this point, I think it’s worth noting that Jay Oliva and Michael Chang are both Asian-American men (i.e. less likely to be blinded by privilege a problem that Greg Weisman has always struggled with), that Chang himself was lead director on TT2003’s anti-bigotry episode Troq and that TT2003 on the whole is often praised for its respectful depiction of female characters (and also Victor’s cyborg status).

Given this, I think similar direction could have resulted in more respectful depictions of non-white and disabled characters.  As it exists, the revival at large (and Outsiders in particular) has a HUGE issue with unnecessary and disproportionate violence towards and villainization of characters-of-colour in a way that inadvertently reveals the bias of the creators; shock-value violence towards marginalised characters being treated as more acceptable and less needing of commentary because they clearly weren’t expected to be as relatable or worthy of empathy as the “main” characters.  Different direction could have seen some of the more needless violence removed in favoured of equally-shocking-but-more-narratively-purposeful elements, some of the narratively-justified violence reframed in a way that was more empathetic to the personalities and bodily autonomy of the victimised characters, or - given more time for revision - used to make a critique of in-story bigotry by presenting the disproportionate targeting of marginalised protagonists as being the product of systemically prejudiced antagonists (rather than casually-bigoted producers).

Similarly, I think better direction could helped respect female/femme characters more.  From Season 2 onwards Young Justice has an increasing problem with the male gaze in how it frames and poses women; Outsider’s borderline-fetishistic obsession with depicting late-term pregnancies again being a particularly egregious example.  Many of these scenes either didn’t need to be included (hence the meme-potential of wasting screen time on a toddler explaining how pregnancy works to a mature audience) or could have been made more narratively meaningful by prioritising specific characterisation over generic ring-fingers and pregnant bellies.   This male gaze issue was at its most insulting with Halo; even if different directors couldn’t change the incredibly disrespectful character-design decision to vacuum-seal a nonbinary, hijab-wearing minor inside a boob-socking, ass-grabbing, wasp-waisted super-suit, they could have worked to preserve Halo’s modesty and gender identity with posing and camera choices that minimised the attention drawn to Halo’s sexual features, and presented their body-language and posture in a less-feminising way.  

This likely wouldn’t have fixed the underlying biases baked into Outsiders’ plotlines but I think there was the potential to soften the execution to the point that they could have felt more like a “missed the mark” than the farcical offensiveness that we got.

That said, I don’t think anything could have truly saved this series.

As I said at the start, I think the thing that ultimately doomed Young Justice was the lack of a long-term story vision; the ego and overambition of showrunners trying to build a story that runs on teasing twists, mysteries and future-resolutions while also openly wanting it to go on forever.  Those two elements are fundamentally incompatible if you want a satisfying experience, and without a clear guiding plan you can’t expect the underlying creative team to successfully find a story’s identity during a rushed pre-production.  You can’t provide direction if you don’t know where you’re going.  It would be like trying to invent an entirely new plane and build it as it’s taking off: a crash is inevitable, the only question is the extent of the damage.

At best, I think we could have seen another Invasion-level non-story: a few isolated good character moments bogged down within a season that, while not overtly offensive, was still thematically confused, overstuffed with characters, driven by contrivance and insulting to the intelligence of anyone actually trying to follow the narrative.  A slow zombification, riding out a few extra seasons on plausible deniability, rather than Outsiders’ rapid crash-and-burn seasonal rot into an offensive cash-grab parody of itself.

And, in a way, I’m kind of glad that Oliva, Chang and the other Season-1-only creative team members didn’t come back for that.  Because, even if it would have resulted in a more palatable product, it would have come from forcing a group of marginalised creators to salvage a privileged dude’s mess.

I’ve spent far too many words over the last few years trying to unpick the layers of why Young Justice is such a narrative failure post Season 1 and now I feel like Benoir Blanc.  Because these problems are a glass onion and at their clear centre, Greg Weisman is an idiot.  He’s a demonstrable bigot, who had a publisher back away after he trashed their franchise with misogynistic queerphobia.  He’s a sex-obsessed loser who tried to launch a Not-Safe-For-Work production company writing Gargoyles Parody Porn while wearing an eye-patch and pretending to be a ‘fan collaborator’.  His writing reveals a consistently toxic attitude towards abuse, consent, boundaries and power dynamics.  Based on some of the creepier things he’s said/written, he could be potentially unsafe for certain fans to be around.  And even setting all that aside (and it’s a lot to set aside) he’s just obviously a hack: he claims things that are neither present in or even supported by the text, he promises future developments and fixes/explanations that he rarely if ever delivers, and he uses those holes as a springboard to pitch separate-purchase side-content that also seldom delivers, in a way that suggests he either has no idea what he’s talking about or is intentionally lying to grift his fans.

And, look, this problem is far from exclusive to Weisman: it certainly didn’t start with him, and it’s not even exclusive to the arts.  Across industries we are currently realising that we’ve let privileged guys who can talk a good game coast by on an assumption that they were qualified to hold their positions of influence, even as we held them to far lower standards of scrutiny than we would equivalent people of any other demographic.

Young Justice was never going to survive long-term (any more than the Gargoyles revival is) because the creative load was always resting on that rotten core.  I think we as a fandom were very lucky that Season 1 had both a sincere creative team and the production schedule needed to overcome it and give us something as good as they did.

I wish we could have seen that quality continue. But, at the end of it all, I’ll make peace with the disaster we got.  Because it was at least a somewhat honest reflection of its lead creator, rather than enabling him to keep failing upwards on the back of his colleagues' contributions.

So yeah. Better directors would probably have resulted in better surface-level polish... but you know what they say about polishing turds. No matter how much sugar they added, Outsiders couldn't be turned into a brownie. You'd still be being fed crap.

And frankly, whether it’s his characters, his audience or his co-creators, I’d rather not continue the pattern of letting Weisman shove the burden of dealing with and correcting for his bullshit onto less-privileged people.

[deus-ex-mona]

such is the tale of a ✨chronically online hypocrite✨

[faunandfloraas]

No but actually coming from someone with fine wavy/curly hair who had some hair loss and lots of issue I really and truly wish I could sit down and talk with Chan because he really needs someone who understands curly hair to get him some products and show him what to do and he also needs to stop using heat. Like no straightening. No hair drying. Or at least very sparsely.