#I can't drive anyway

[deoidesign]

I'm so mad that post was misinformation because there is actually an EXTREMELY important conversation to have about the production schedules artists are forced into. There's no need for exaggeration, the conditions are bad.

I work for webtoon. My publication schedule is weekly. While publishing I'm required 10-15 pages a week. Fully colored.

This means I'm finishing a 150 page fully colored graphic novel every 10-15 weeks.

When my comic is not updating, I am not getting paid. Any time writing, editing, or off is out of my own pocket. I don't get healthcare. They do not provide any assistants. They expect me to promote myself; they chose to deprioritize me before I even launched and gave me an end date half a year in. I never had a chance.

And this is the industry standard! Every company has artists forced into crunch hours, overtime, and burnout. Artists are literally dying early due to it. So many of my friends can't afford to go to the doctor.

It's unsustainable and untenable, and it's also the expectation our audiences have.

If we want to have this conversation, there's plenty of conversation to be had with the realities of the situation. It's bad as is.

[yayll]

~ a little something about Dazai and his tantrums ~

"... Hmph. I hope you crash this car and we both die."

The moody brunet mutters under his breath as he looks out of the car window, his arms crossed over his chest, refusing to look at you. He was awfully cute whenever he did this, and oh so vexing at the same time. You learned to acclimate to this very early into your relationship with him.

"What? All I said was that I was going to be driving us, Osamu!"

Your laugh is light hearted as you focus on the road ahead, dismissing his whiny behavior for another one of his... Melodramatic performances, his co-workers once called it. He finally turns to glare at you, but a wicked glint in his narrowed eyes betrays him... You can tell he's more unserious than anything. Playful, even. And besides, he would never actually be upset with you, he just can't stop thinking up schemes to make you roll your eyes at him. Your smile alone makes his thoughts impure, shame on you!

"Yeah, well... I feel dehumanized! overlooked! neglected..." He feigns offense, sighing heavily as he slouches into the passenger seat. He places a bandaged arm over his face, groaning softly but still side eyeing you to check if you're looking at him or not.

"You do that all on your own, silly."

"Excuse me? I'm expressing my grievances and you're calling me silly? Oh, so that's what this is really about. You don't love me anymore! What a cruel beauty you are..."

He gasps, now burying his face into the crook of his elbow, pretending to weep as he mumbles incoherent nonsense about how much you mistreat him. In actuality, he was giddy as hell. You park the car, and turn to face him, a coy smile flashes on your lips.

"Nobody said anything about not loving you. Now, what can I do to fix this, Mm?"

He lifts his head up, suddenly composed and shrugging his shoulders as if nothing ever happened, speaking in a matter of fact voice that somehow deepened.

"Well, definitely don't let me drive. I don't even have a license. I'd kill us in an instant."

"... Then why argue about it?!"

"Because you look so beautiful when you're yelling at me. And you make me feel alive. Anddd, because I'm bored~"

He flashes you a cheeky grin, it's dreamy and sickening. His eyes twinkle with mischief as he leans over the seat and flicks away a stray hair from your face. Dazai then taps the tip of your nose, slowly dragging his finger down to your plush bottom lip, gently flipping it over to expose your teeth. The pad of his finger gently swirls against your canines, and finally, retreats... He knows there's a time and place for his worship prodding. His eyes travel back up to yours, and you can swear they look darker than usual. If only the Port Mafia could see what became of the Demon Prodigy... A new man reborn! A man who loves!

The rest of the day is spent with you indulging Dazai, something along the lines of 'reparations' is what he calls it. Only he knows how much it means to him that you can handle him during his calculated outbursts... or rather harmless tests to prove you won't leave him at the first sign of trouble. He needs you to be in it for the longhaul, just like he is. It's deceptive, but no one has to know! He just loves you and these are simply counter measures. You'd probably call him selfish, but as long as you call him at all, he doesn't give a shit. Because in the grand scheme of things, he really can't drive, and you two are inevitably endgame.

You're the ball, and he's your chain.

[meerphanim]

The Ferryman's Scorpion

{ Click/Tap for better quality. }

My entry for @catmask 's and @frogcroaks ' contest, Monster Mayhem!

I chose the theme Wisteria Will-O-Wisp for flower symbolism and will-o'-the-wisp folklore. Also because of the color purple ← My favourite color 💜

Thank you for hosting this contest where I can try out monster designing and good luck to the other participants. Peace and love on planet Earth!

[peace-hunter]

While in battle what do the primes mostly do? Just sit N watch

yeah kinda!

unfortunately they're very limited on what they can actually do beyond giving some advice when required, which is a source of frustration for everyone involved. being forced to stand on the sidelines without being able to physically help out rapidly becomes one of their least favorite things about being bound to the matrix.

the first time Optimus gets badly hurt during battle and they realize there's absolutely nothing they can do about it is,,, Rough.

they do get to become Optimus' second (thirteenth?) pair of eyes though. literally nothing happens around him without them seeing it. he very quickly gets a reputation for having crazy reflexes and it's really hard to catch him off-guard but it's because he has thirteen ghosts following him around at all times and they're hyper-aware of anything that gets close to OP.

there's a learning curve of how much they can chime in during battle without distracting OP and making things worse, but they get the hang of it eventually. and OP learns to trust them implicitly too, following their warnings with no hesitation, which saves his life more times than he can count.

it is a little freaky for everyone around him, but they kinda get used to it. things are already so goddamn weird around here anyway.

[loki-hargreeves]

I can't believe that this man now lives in my head rent-free

[whiteboardartstudios]

I SAID I WAS GOING TO DRAW THAT CAR SO HERE WE ARE (I hope you enjoy this is the stupidest thing I've drawn in months /affectionate)

(I put the image descriptions in the Alt text this time because there's so many images. If it doesn't work please tell me and I'll yeet them in the actual post!!)

happy finale of Wild Life everybody! :D

[piritos03]

Who needs air?

Full image on my Twitter [link]

(or BlueSky)

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[happyk44]

Jason who immediately loses respect for people who don't own up to their mistakes vs Annabeth who would rather die than admit she made a mistake

[psychotic-nonsense]

|| >

There's not much Steve remembers.

There's a group of people walking through the woods, some older, some teens. He's amongst them. The sky is too dark and the trees are too dead. His hands are tight, holding something close. There's an air of panic, stress, hurry, caution. A mistake was made, and they need to escape.

Then instincts flare and the trees descend on them. Sharp rushes of wind, the shrill shrieking of something otherworldly. There's teeth and sharp whips and screaming and gunshots.

Then the swirling mass parts and the shrieks turn human, and Steve remembers the visceral fear of seeing the mass separate. One half rises, carrying a flailing, manic figure, and no no no Robin please no not Robin please no me take me instead you bastards not Robin please no Robin Robin-

Then the other half descends, whips circle his wrists, and the ground falls beneath him. There's screaming behind and before him as the earth fades away, and it's a cruel parallel, floating when all he wants to do is sink.

Robin's thrashing, Steve's thrashing. Their weapons have no use here, where teeth and whips maul them. Amid the pain, all Steve can do is plead to Robin, to forgive, to hope, to fight.

Robin finds the weak spot first. A quick succession of blind swings, a fierce thrash of flailing limbs. The bats scare, release her. But they're too high. Steve feels his throat go coarse as he watches Robin crash into the dead forest below, unable to differentiate the snapping between bark and bone.

Steve finds it in him to copy the act, do the same. And somehow, it works. Somehow, he's weightless.

There's a fierce pressure and the first snap he remembers feeling both on and within his skin-

And Steve wakes up.

It's not sudden, it's gradual. He feels the pains within him slowly throb to life, rousing him from sleep like an anchor rising from the sea. His left hand feels thick, and there's a burning poker laying across his forehead. His jaw feels wrong, and his eye stings and throbs.

His other senses slowly begin to return as well. He's laying down, his head tilted to his left, a bit cramped in the space as something presses around his shoulders. The material he's on isn't very comfortable either, some parts stabbing into his back, and there's a crinkling sound every time he breathes. He hears the faint rippling of water, and somewhere out there, it rushes fast and hard.

It's hell to even think of doing it, but as Steve returns to reality, his instincts rise to the surface, and he knows he has to get up soon. So he opens his eyes. He fights the involuntary tears, wincing as the stinging worsens, then wincing further when his face crumbles in the looping pain.

Finally, he can see a little. Where he is, it's thankfully pretty dark, with only a faint golden glow illuminating the area around him. His eyes strain to see through the darkness past the range of the light-

And then Steve notices where he is. A boathouse. The boathouse. The same one from a night that feels like a lifetime ago, rather than a few weeks. The start of their worst journey, the beginning of a friendship that would grow just to rot into a sour mess of guilt and loneliness.

He's laying within the same boat too...

His eyes focus on some motion across from him. A table covered in a lump of tarps and ratty cloths, and atop it sleeps a figure. Her face is scrunched up in pain, a patch of bloody fabric covering her cheek. One leg has been removed of all clothes, the ankle wrapped and foot elevated. Steve knows her, and instinct briefly overpowers everything else.

"Robs?-" Steve cracks out, his voice sore and rough. His body tries to rise, moving habitually, and he barely rises onto his elbows before the world pounces on him again. It's so strong and he's so weak that he can't move more than the closing of his eyes and the falling of his chin to his chest, can't make a sound louder than a whimper.

Suddenly there's a noise, there's movement beside him. The light glows just a tough brighter, and there's a base warmth suddenly pulsing through his chest.

It's a person, shushing him. Their hand is resting softly on his back, simultaneously supporting him and urging him down.

"Please, stay. It is better for you to rest."

The voice speaks softer than Steve can remember, but he still knows it. It's monotone, sounds ghostly, faint, quiet in a way that has nothing to do with volume, but it's still familiar. Still brings the memories around Steve right into the present, takes him back to that corpse, makes the presence around him feel more melancholic than scary.

Which is funnily enough, even more terrifying.

Steve can't move, can't pull his sight up to face what can't be reality.

"Apologies for the location. We cannot stray too far from the Gates."

The monotone changes to sound almost apologetic, more real, more like what Steve has been craving. It's what finally makes him cave, to turn his eyes to face the impossible.

Who he sees, what he sees, both crushes and rises his hope. Because past everything before him - the inhuman glow, the calm, plain expression - he finds exactly what he's been fighting for.

"Eddie...?" Steve pleads.

The blank face falls, just slightly. Like it's guilty.

"I'm sorry. No. Not quite."

(cleaner version below)

[humming-fly]

don’t wanna get too into it bc… nsfw but how does asexual greed work when he literally says that he wants sex and women? is he just not attracted to them in that way or–

well in terms of nitty-gritty homunculi biology they are quite literally an asexual species, like father reproduces via budding lol. And then given his physical embodiment of lust herself seemingly has no sex drive and is instead Way more interested in killing it's a pretty easy conclusion that as a species they just have no sexual interests because why would they (pretty sure father as the dwarf in the flask had some comments about finding human pairings distasteful, and given all his kids are just offshoots of his personality i can't see that shifting much haha (also more shitposty take but there's the much funnier observation that all of the homunculi come with their funny little onsies literally built-in to their regenerative code so there is an incredibly real chance they're all just ken dolls down there anyways))

as for why greed himself says stuff like wanting women and sex etc., i mean he also says he wants money and power and the finer things in life and then spends his time happily hanging out in a dingy dive bar with no real long-term goals besides 'hang out with my friends and investigate immortality which is definitely for me and not for anyone else that i'd be sad to see die no siree don't ask me why i'm doing this if i'm already virtually immortal'

so yeah it's a fun aspect of his character that greed says he tells the truth but he will also just sort of...lie about his own drives to himself and others all the time lol - i'd almost chalk it up to his love of performance but there's def also some intentional personal misdirection going on, which was very obvious as greedling when ling (correctly) calls him out on acting like all he wants is power when really the only thing he wants is to have friends

basically he says he wants money and power and women and sex because that's what common human desires are but then he makes absolutely 0 effort to follow through on any of those claims because deep down that isn't actually anything he's interested in

[littlespoonevan]

rewatching s1 this time around has actually left me sooooo fascinated by buck and abby's relationship??????? bc what we know of it in its aftermath is actually completely visible on screen during the season???

in episode 6 when abby is talking to carla about a potential valentines day date with buck she outright says she's fine with him being a boytoy and it just being something casual so she can feel good in herself again and is almost complaining that buck is taking it so seriously by trying to go slow. and the thing is, i don't think her stance on that ever changes???????

she absolutely cares about him and appreciates him for everything he does for her (both in helping support her with her mom and what he does in helping her find her way back to herself) but i don't think she ever really wanted or needed him to be more than that????

on the flipside, you have buck who's experiencing feelings he's never felt before and is so totally overwhelmed by this woman who's making him realise real connection is possible and it feels a million times better than the way he's vied for people's attention before. and there's something a little heartbreaking in the way he questions if he's ready for it to be something real. because bobby encourages him to step into the relationship fully and in the end he does do that

but abby doesn't really want him to???

so you have buck, fully committed and ready to be the partner he thinks abby needs, and abby, who is so completely unable to be that partner in return because she wants to navigate the next stage of her life alone

and aksdjfh it's just!!!! so!!!!! interesting!!!!!!!!! and i am once again BEGGING someone to make a gifset/video/edit/anything for them with reckless driving by lizzy mcalpine

[vintagerobin]

"Wally and Bruce's dynamic in the JLU cartoon only works because Barry isn't there to be a father figure to Wally" have you considered that in the comics that this cartoon was drawing from for inspiration Barry was dead? That he never got to see Wally leave Kid Flash and grow into the Flash mantle and become a member of the Justice League? And that this did kinda leave Bruce - someone on the League he was already more familiar with than he was with most others, someone who was close friends with his own mentor as well as being the mentor of one of his close friends - as a sort of intermediary mentor figure in the early years when he was adjusting to his role in the League?

Yeah their dynamic is somewhat different in those comics than in the show, but imo the shared history and relationships make them more interesting, and the lack of that in the show makes them less compelling.

[dreildream]

"Awesome, super cool, and like, totally awesome. Like really awesome."

[varilien]

since when did the stars stop shining so brightly?

Palestine: Funds | Action | eSims | Info Sudan Resources | Congo Resource | Lebanese Red Cross

[jamiethebeeart]

Fall picture! I haven't done one in a while