#Avenger has a point

[lurukifennecfox]

i want a ghost courting fanfic Dead on Main

i want it to be intentional from Danny's side and Red Hood/Jason to be confused™

i want it to be where Danny moved to gotham for reasons (it's pre reveal for danny or reveal gone right) and he's met that really cute guy and ohmygod what does he do?? Ember, Kitty, Johny, Skulker? how do you court someone? what should he do???

so Danny gets Ghost Courting advice and oh.. the cute dead guy is the freaking Red Hood who Danny may or may not have had a crush on even before meeting in civvies ok that's fine he'll just proceed with the plan a leave a gift in his haunt with a little hint as to who that might be from as is only proper (thanks for advice Ember!)

[twilightkitkat]

What if Wade died and Logan went batshit insane? I'm talking teeth gnashing, claws out, full-on feral murderous rampage. Mind blank with nothing but fear and adrenaline and unbridled fury.

Logan went through all that suffering, all that pain and loneliness and grief just to finally find a home. Only to have it ripped away from him in a moment.

He already went on a killing spree when the X-men died. He was full of anger and regret over their death, over how he never let himself get too close.

If he was that upset over the deaths of his makeshift family who he never truly opened up to, imagine how horribly he'd react to losing Wade. The only person he let himself be emotionally vulnerable around. The first person who actually understood him and wanted. The only person he thought he'd never lose. Someone he was prepared to spend centuries with, who his entire life and future and home was built on.

He'd snap. He rampaged and killed the culprits and civilians alike when the X-men died, before settling into a miserable, drunken state waiting to die.

He couldn't deal with another loss like that. He'd break.

And so he did. This time, it didn't just stop with civilians who got in his way. It was like his mind refused to accept Wade's death, tearing apart anyone in sight while looking around like a wild animal. Eyes somehow razor sharp and unfocused all at once.

He destroyed the entire city, running purely on instinct. He eviscerated and fucking tortured the people who snapped the ability-restructing collar around Wade's neck. And once he got the name of their boss, he crunched their heads beneath his foot.

He went on a single-minded mission to obliterate every single last one of the people remotely involved in Wade's death. He didn't just stop at villainous bases—he murdered their families, the suppliers, everything. His signature was the claw marks he left behind.

He stopped caring about everything. He didn't sleep. Didn't eat. Never took a break. The only person that made his miserable life worth living was gone now. He jumped into each fight with reckless abandon, a complete disregard for his life or any injuries he could sustain. The only thing he cared about was violence. Revenge.

The X-men tried and failed to stop him, to get through to him. He snarled and pinned them to the ground or incapacitated them. He managed to get away or evade them each time.

Logan was once called the Worst Wolverine. The people in this universe were about to find out why.

[malice-kingdom]

I know the Marvel’s Avengers game came out years ago and is widely unpopular but I really enjoyed it. I just thought the game was fun and the story was really great.

So here have a bunch of sketches about it

[fact-dogsarehappiness]

Eli: Billy, you’ve been looking at the same spot for 10 minutes now, are you paying attention

Billy, who stopped trying to ignore Agatha about 10 minutes ago: I promise I’m listening to you

Billy: But my ghost friend would rather I pay attention to her and doing both is a little difficult

Billy: Sorry

Eli, Nate, Cassie, Vision, Kate, Tommy, and Teddy:

[dykedvonte]

I keep seeing fanarts of ppl's OC's being on the ship, so do you think that if there was 6st crewmember (specifically, another woman) Anya would've been more safe? Like, someone to actually call Jimmy's begaviour out, someone Anya might wanna trust? Is there a possibility something might have changed (even if a little) or it would not have mattered at all?

-💀

I feel like the game would make it part of the commentary on where she would believe and help Anya but still be sort of dismissive? Like the whole “don’t waste time crying and being scared keep going and move on, don’t let him win”. It’s supposed to be positive and reinforcing but sometimes it does more damage in those times of mourning and grief, it feels patronizing, like you don’t understand what you’re going through but they do. Even if they did call out his behavior it’s still on Curly to act and while another voice would help, it’s still 4 against 2 on guys that don’t get it until they have to vs women who always have to.

I don’t mind mouthwashing OCs but I do get a bit bored as they tend to be borderline saviors or like Jimmy aligned. They are either more complicit than Curly or just Jimmy haters for no reason, outside of what the creators know about what he did to Anya. I am never irked by OCs but in a story like mouthwashing you really need to think about what your character adds to the commentary, especially if they are there during the crash. It’s nice to have like characters on Anya’s side more whole heartedly and interesting to see characters who placate Jimmy but sometimes it’s one note.

I can’t and don’t want to police peoples OCs it’s never my intention when I comment on trends I notice, but I do feel like the way people make their OCs interact with these two characters and especially Curly, really show a grave misunderstanding of the narrative and these characters as people vs roles in the story. Still, I know people just make up characters for fun and that’s fine. Great even, but I guys I’m focusing more on OCs that are supposed to have those serious dynamics. My favs tend to be pretty-Tulpar or post-Tulpar au OCs.

The inevitably of the crash is on Jimmy. He did that not because he wasn’t stopped but because all his means to kill Anya were taken. The gun, the axe. Even if Curly did strip him of his co-pilot privileges and try to keep him contained there’s only so many people. An extra body helps but they have jobs they have to do, he’s the only one steering the whole ship and Jimmy would likely have an out: food, bathroom, etc. He’s not new and if he couldn’t crash the ship directly, who’s to say he wouldn’t sabotage something else? A clunker like the Tulpar wouldn’t take much. An extra person helps but it’s just another thing that prolongs what a person like Jimmy is willing to do to shirk responsibility.

It’s more than just needing someone to stand up to him and think that’s what is missing when it comes to inserting a character into the mouthwashing setting.

[mako-neexu]

ughhhh an Avenger class is a class of their own where not many humans- barely anyone would be able to handle them as they are impossible and incompatible with pan human history and so are one of the hardest to handle. to even be able to summon an Extra class outside of the seven accepted seats is a feat on its own but to form a bond and a strong one at that is a different thing entirely. to gain comforting words from Avengers that eternally burn with vengeance and hatred, to gain companionship and trust from Avengers mercilessly crushed and betrayed by the world, deemed as threats for their retaliation, hunted down as beasts and chased out of their homes with their loved ones killed, those who have also died alone, suffering from such a painful betrayal even when they themselves were faithfull all the way to the end. to gain an Avenger's love and loyalty, weapons that howl and cry and knows unfathomable pain and sorrow, a Class that never forgets, grudges and hatred in which are ingrained into their very existence yet love and compassion is what allows them to persist and keep on burning. as summoning such flames means you yourself are far more removed from "humanity" than anyone else.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[c-kiddo]

just saw someone misread kamen and fionas relationship so bad someone hold me back

[worstloki]

Loki simply does not have the wiles to usurp the throne. sorry

[olvine-and-tea]

theres something about these men that makes me so attracted to them but i cant put my finger on it…

[dark-elf-writes]

I can't stop thinking about Clint with the Avengers in one emergency mission that is taking a lot longer than expected and Sally or Paul tries calling Clint and he has to shoot an arrow quickly so he hangs up while saying "Can't talk now, Steve duck!". And five minutes later Percy appears on Mrs. O'Leary, kills most of the bad guys and goes: "Hey, pa, you got mom and papa worried, please don't answer like that, mom had a bad experience with short phone calls because of me. Anyways, if you want to go home now, the casserole is still warm. Hi Nat! You can come too!" And that is how Percy meets his pa's coworkers.

After a couple of girl nights between Sally and Natasha they end up deciding that if Sally's baby is a girl, she will be called Natasha Estelle Jackson. Also Thalia starts leaving propaganda for the hunters in Percy's house in case Nat is interested

“Barton.”

Clint pretended not to hear Stark, instead choosing to look Percy over. It wouldn’t have been the first time his hearing aid had gotten taken out in a fight after all. He was rather infamous for breaking them before Tony had taken over making them.

Percy was grinning, his hair tangled and a faint scattering of golden dust caught the light when he turned. Clint wondered if he had found the monster before or after charging head first into an Avangers Grade threat, then decided he didn’t want to know.

“Barton, you still show online. I know your ass can hear me.”

Clint thought about turning his hearing aids off, just to be petty, but Percy was turning, looking over his shoulder while he talked. “Mom and Papa are worried about you, just so you know. They’re kind of blowing up the group chat and I happened to be in the area so I thought I’d tell you.”

Before. The monster dust was from before.

“Perce, we talked about this…”

“Barton!”

Percy flinched so hard at Stark’s sudden shout, in person now as he hovered roughly five feet above their heads rather than over comms, that he nearly tumbled off Mrs. O’Leary. Clint lunged to steady him, just barely grabbing hold of his leg. Sally and Paul would be upset with both of them if Percy got another concussion and ambrosia could only do so much.

(Not for the first time Clint wished he got more of his father’s talent for healing. It certainly would have made his life a lot easier, along with trying to keep up with Percy.)

“Stark,” Clint couldn’t keep the growl out of his voice, but Percy thankfully didn’t flinch again. “Stand down.”

“What do you mean stand down? That’s a hell hound! And a child! A demigod! Where the hell did you get a demigod child!”

Percy blinked, looking between Clint and Tony, then seemed to come to the conclusion that whatever was going on wasn’t his problem. “Well I told you mom and papa were worried so that’s my job done. Oh, and dinner is ready… which will be in the oven waiting for you when you’re done with all,” He gestured vaguely somehow managing to encompass mostly Tony. Stark let out an affronted sound. “Oh, hey Nat! Mom said you can come to dinner too. Well she didn’t but she will when I tell her! Love you! Don’t get ate!”

With a click of Percy’s tongue Mrs. O’Leary bounded off down the street, leaving Clint alone with the rest of his team who were all looking at him expectantly.

Clint turned off his hearing aids and wished he had his own hellhound to help him avoid this conversation.

[nostalgia-tblr]

wait...

wait...

if alligator loki's nexus event was eating the wrong cat, does that imply that all the other, non-alligator, lokis ate the right cat? :O

[theprinceandthewitch]

Hmm... it's interesting how they made Luz wear a witch's cloak in Hunting Palisman - the episode where she introduces Flapjack to Hunter. This is also the episode where Hunter defies Belos by choosing Luz over him. He goes back to his palace empty-handed and he doesn't hand over Flapjack to Belos. Unbeknownst to Hunter, he is following Caleb's footsteps.

But then, in Hollow Mind, they made the choice to have Luz not wear her witches cloak - instead they made Luz wear a jacket with a giant "E" on it. They could have given Luz a completely different outfit like they did in Hunting Palisman. But they don't... they make her wear this specific jacket...

...They also make Hunter wear Caleb's symbol in Hollow Mind... an episode where Luz and Hunter are trapped in Philip's mind... where we can see paintings of the two most important characters in Philip's life - his brother and a witch from another world.

But I'm sure this is all unintentional.

You know, like this is:

oh, nbd, just a painting being paralleled with the scene happening right before our eyes

here's a more high def image of the painting

Oh, hmm, okay, this is a painting of Caleb standing next to a witch with short dark brown hair and who just so happens to be a witch from another world. Both of them are startled by Philip...

Hunter, the Grimwalker who looks the most like Caleb, is standing next to someone who ALSO just so happens to be a witch from another world with short dark brown hair... both are startled by Philip's monster form...

Hmm, must be unintentional I guess.

there's also this:

Mhm, okay, I see... I see, very interesting. Here we have Caleb being lead away from Philip by a witch from another world after the brother's have a fall out. This fall out marks the point of no return for them, as Philip later kills Caleb out of anger.

Hunter and Philip's relationship completely deteriorates because of Luz, which leads to Philip's decision to kill Hunter. She shows Hunter Belos' true nature and she offers Hunter sanctuary at The Owl House right after he finds out Belos has been lying to him his whole life... Luz saves Hunter's life and changes it forever.

Hmmm... very interesting

But I'm sure this is unintentional [I'm being sarcastic]

[sixty-silver-wishes]

anyway if you're as weirdly invested in these barely dimensional characters as I am, this scene will give you at least a bit of emotional damage

ref image:

[xxplastic-cubexx]

hello!! i just want to tell you that your art is so goddamn scrumptious, you are literally feeding my xmen brainrot and I find myself smiling when i see your art come across my feed. I love how you draw charles, pretty privilege and post (lets be fr he's serving every time)

i hope you always have fantastic brainrot and id kiss your blessed hands for giving us the gift of cherik and charles xavier, you are literally an icon

hope you have a great day ahead of you and more!! you deserve it !!

well i'ma absolutely have a wonderful mornin after readin this AWWWW thank you so so much !!!! i haven't been postin xmen long, so it's been really heartwarmin seein the warm reception to my work in the wonderful tags people have been leavin on my posts- and especially gettin to answer the lovely asks y'all've been sendin in (❁´ ▽ `❁) !! im glad people also like my goofy text posts and esp quotes from my brother he really has no right being so funny at the most random times

i hope to be xmen posting a while: ive got at least 60 years worth of stuff to look through and ongoing, so i dont imagine my interest'll wane anytime soon :]] !!

[inthefieldwithdiamondbutterflies]

For the life of him

Peter cannot pronounce the word

Worcestershire