#I’m not a comic creator by any means but it won’t stop me from making em

[existingonanotherplane]

The clown spider oc no one asked for hehehe

This came about in the silliest of ways, hoping to give him a clown car crew soon 🤞🏾

A lil extra bit of a comic I made with @vivelegalite ‘s spider oc is under the cut >:D

[alexanderwales]

My web serial, Worth the Candle, has been adapted into a webcomic. This was thanks to my agent, who I have a great fondness for, since without him I would have to spend time trying to make connections and call people and do a bunch of work that I don't know how to do and am not good at.

I was offered the chance to write the webcomic, but declined, mostly because writing Worth the Candle had taken four years and was pretty draining, and was a story that I feel like I'm done with, minus some editorial stuff, answering fan questions, and the odd bit of promotion. So my level of involvement is that I get the pages as they come in, make some comments on them, and generally just give feedback which they are free to ignore.

So let's talk about some of the adaptational changes! You can read the first three issues on Webtoon here, or the first eight issues if you're willing to pay, and the books start here, but I'll assume that you haven't read either, and there won't be substantial spoilers because I'm talking about stuff from the very beginning. Actually, I guess there will be some spoilers, but later on, and I'll mark them, mostly having to do with some foreshadowing that the webcomic does which I didn't do.

(I licensed the rights to make the webcomic to WebToon and took my money upfront, they didn't ask me to write this post, I have not actually asked the artist/writer why they made these changes, it's just me guessing and commenting, for fun. Edit: My agent has informed me that I'm mistaken, I do get a cut. So apologies for the misinformation, and hooray for me, I guess I signed the contract ages ago and just forgot the details.)

Character Design

Here's how Juniper Smith is described in the books, ch 2:

I won’t belabor my physical description. My friend Greg had once said that I looked like someone had chosen ‘default’ for every option in the character creator, which I’d tried to laugh at but cut kind of deep. I wasn’t handsome, I wasn’t ugly, none of my features were very prominent, my eyes were blue, my hair was brown, average build, average height … After Greg had made his comment at one of our D&D games, my nickname had been ‘default’ for a while, at least until I stopped pretending to find it funny, and even after that my friends would use similar lines to trash talk me, saying that I was “the most generic man alive”, “a white bread with skim milk motherfucker”, or “the human equivalent of vanilla ice cream”. Not that I was any less of an asshole to them.

This is how he looks in the comic:

I would more or less give this full marks.

In terms of other aspects of character design, Juniper is here given a black shirt with a red symbol on it rather than the stock white t-shirt he's wearing in the opening chapters of the first book, probably in the interests of adding in some visual variety. On the page, it's perfectly fine that every person in the first 50k words is wearing basically the same stock outfit. In a visual medium, I do think that you need that pop. I do think it's interesting that Juniper is wearing the same clothes in the classroom as he is on the plane, implying that when he transmigrated his clothes ... came with him? I don't know.

The other major character of the first section is Amaryllis, who is a major character in the entire work. Here's her description in the book:

Standing by a workbench, among various car parts, tools, and cans of unidentified fluids, was the most beautiful girl I had ever seen.

I’m not really sure what protocol is here, in terms of prose. I mean, I don’t want to sound like a creep, so maybe I should stay as generic as possible and tell you about her dark red hair pulled back in a braid, the glacial blue of her eyes, how starkly alert she looked as she peered over the parts in front of her, or her grease-smeared clothes. Save for her eyes, I wasn’t really focused on any of that. My mind was consumed by tracing her curves, the shape of her chest in her blood-stained t-shirt, the fullness of her lips and the delicate way she had them parted -- and yeah, it was pretty fucked up that the splatter of blood on her shirt wasn’t worth rating much of a mention. I was consumed with staring at her and thinking how gorgeous she was, until I noticed that she was having a powerful effect on me, at which point different parts of my mind were given over to marveling at the sensation of being so attracted to a girl, and others were still focused on her.

Imagine that someone spent a few years studying your likes and dislikes, running through video of your every private moment, somehow surreptitiously hooking up EKGs to measure your physiological responses without you knowing. Then imagine that they sat down with that data and the best photo manipulation artists in the world and made the absolute perfect picture to cause your heart rate to spike, a jolt to run up your spine, butterflies in your stomach, and a cold sweat on your palms. Then imagine that they did this again, over and over in slight variations, until they had a full 4K 60fps 3D movie to show you. That was what it was like watching her.

And here she is (as she's introduced) in the comic:

Aside from the change in clothes, which in the book are the same white t-shirt and blue jeans that everyone else is wearing, Amaryllis has a scar on her face, of unknown provenance. This was probably added for visual variety, but I do find scars to be very fetching, and in one of the early versions of Worth the Candle she did have one (patterned off a woman with an extremely attractive facial scar I had met, the kind of facial scar that looked like it was applied by a Hollywood makeup artist specifically to give a touch of the exotic and mysterious, except she was a just a Midwestern mom).

And of course Amaryllis was always going to be an adaptational challenge, because the books are told through Juniper's eyes, and she's The Most Beautiful Girl in the World to him, and conventionally attractive to everyone else. Juniper tries to be normal about this. But if you're in the visual medium, you have to show both how Juniper feels and how she actually looks, and attractiveness is just so incredibly personal. My wife and I get in these kinds of discussions a lot, where she'll think someone is good-looking and I'll say "him?" or vice versa.

I think the above panel in particular is a good middle ground, a glamour shot that snaps back to the reality of their first meeting:

(The void gun she's holding there is much different from the one described in the book, not something cobbled together from spare parts and void equipment, but this is another very minor change that I would assume is meant for communicating immediately that this is a lethal weapon, and there's probably not a place for explaining how and from what it was cobbled together, which is also under-explained in the book for reasons of pacing.)

Story

I've read the first nine episodes, and overall, it's hewing very closely. There are a few bits in particular that stand out to me in how they're handled.

Spoilers for later in the series follow, I guess.

These are the opening lines of the webcomic. This is much stronger foreshadowing than I used, and I like it. Part of Juniper's backstory is that he's been deeply depressed and self-destructive, and he's slow to open up about this with other characters or the reader. The "it" that he couldn't go through with is, then, suicide. In the books? This comes very very late. Juniper being depressed after Arthur's death is brought up after the first major arc, halfway through what's now Book 1, and gets more explicit as the books go on, eventually getting to Juniper talking about his attempted suicide with people and grappling with it like ... almost halfway through?

I don't know what the plans for the webcomic are, but my guess is that they're setting up for much, much later on in a way that I didn't. This was always a background element, something that informed Juniper's character, not so much the suicide attempt as the feeling that came after, this understanding that yes, he did want to live, a heady, energizing kind of "I guess I don't have the way out that I thought I did" sort of thing.

So I take it as a good sign that this is the opening line. It points toward them understanding where they're going.

One of the other major adaptational changes is that they signpost Arthur's death with a memorial on his desk:

When I was getting pages, this was one of the first moments where I was like "yes, this is a good change, visual storytelling to replace my walls of text, flows and offers indirect information". I am very happy with the adaptation thus far, and stuff like this is what I love about adaptation in general, the need to grapple with the strengths and weaknesses of the medium.

Content Rating

Worth the Candle gets grim and dark in places. It at least attempts to grapple with serious things. The webcomic is rated Young Adult, and I'm not sure how they're going to handle the later stuff, but I can talk about how they're handling the stuff now, and what I think it means overall.

First, there's a lot less swearing. Worth the Candle in its entirety uses the word "fuck" ~1200 times. Granted, this is over the course of 1.6 million words, so a fuck density of one every 1.3k words, and some of those are in the verb "soulfuck" rather used descriptively, as exclamations, etc. My personal feeling is that this doesn't matter basically at all. I don't think I notice when someone isn't swearing unless they're using corny substitutions or trying to get cute with it.

Second, the violence is toned down in that YA way, where they're still showing much of the same things, just not with the same level of visceral detail. When a Marvel comic has someone thrown into a wall, they're no blood or snapping of bones or mangling of bodies, at least if it's a comic at a certain rating (I have definitely read some edgy 90s comics that do go hard on the violence). I think, overall, that this isn't my preference, which might be obvious from the way that I try to write fight scenes and such. But I'm also sort of inured to this toning down of violence, since it's omnipresent.

Third, there's the sex stuff, and ... well, it hasn't come up in the webcomic yet. I think I laid out my reasoning for why I think sex scenes should be written/included in Why to Write a Sex Scene, but the brief version is that sometimes you're showing how characters relate to each other, what they think of each other, and the sex scene shouldn't always just be something that's skipped over and left to the reader's imagination, because things happen, there are moments of communication, it can and does develop a relationship in the moment rather than after the fact. Plus a little titillation is, in my opinion, usually good.

The great thing about writing webfic is that no one can stop you from just including three solid chapters of hardcore pornography in the middle of your story. I have never done that, but I could is the point, and I would only get complaints from people who have no power over me. That same freedom doesn't exist here, and ... yeah, it makes my heart sink a little bit.

Fourth, there's some of the more mature content stuff, the topics that might not be broached. I don't know how they're handling that, so I reserve judgment, but I think my opinion is probably going to be "well, you do what you have to do", and if my version of the story is superior because there are no brakes, then I can be smugly superior about that.

Conclusion

This is already a fairly long post, and there are a few other things that I could have remarked on, but I think this is all the most interesting stuff.

Alright, just one real quick: Arthur is adaptationally more attractive, though this is also how Juniper sees Arthur and I think by the standards of webcomics, this is actually sort of necessary. Most of the flashback cast is not described until much later on, and by then you kind of know and understand them from the things they've said, if you can keep track of them. Many of the flashbacks are nearly disembodied. But if you're showing Arthur early, then the first impression he's going to make is in his appearance, and that really anchors people.

So overall, I am happy with the adaptation. There are challenges ahead, and I'm thankful that I'm not the one who needs to tackle those challenges.

[deer0skullz]

Does anyone else feel like Umbrella Academy, What We Do in the Shadows and Our Flag Means Death went down very similar paths or is that just me?

To preface, this is mostly based on how I felt as I watched the shows but also on some of the opinions I picked up from the fandoms.

Also, I’m not going to go back and rewatch all of these shows for the sake of a Tumblr post so I’m working from memory and if you feel like I’ve misremembered any of the plot/ characters let me know.

1. Started as well-received and highly acclaimed live-action fantasy shows with ensemble casts.

Based on my own opinions and what I remember from other fans, UA seasons 1-2 were fairly well received, as were WWDITS seasons 1-3/4 and OFMD season 1.

They’re all definitely different genres of fantasy but I’d say they still all fit under the label. And they obviously all have ensemble casts, with the Hargreeves in UA, the vampires (and Guillermo) in WWDITS and the pirates in OFMD. Even though the plots and characters can be quite different they all have similar vibes.

2. Noted for having open queer representation.

Klaus and Viktor in UA, pretty much the entire main cast of WWDITS, and multiple main characters in OFMD.

3. Tied to already established and respected creators.

UA is based on the comics written by Gerard Way who, of course, is also well known for My Chemical Romance. WWDITS is based on the film by Jermaine Clement and Taika Waititi, who are both executive producers of the show. Taika was also involved in OFMD as the actor for Blackbeard and as an executive producer. He has his name tied to many acclaimed films like Hunt for the Wilderpeople, Thor Ragnorok and Jojo Rabbit.

These are obviously not the only famous people tied to these projects but it’s just a sample of the talent involved in these shows. I feel like the fact that there was so much talent working on these shows makes my next point more interesting.

4. Experienced drops in quality and/ or introduced problematic elements that caused fans to lose interest or respect.

Again, this is opinion based and if you still liked the shows during these seasons then more power to you.

My overall feeling about all of these shows is that they lost a lot of the joy from their initial season(s) as they went on. Like, they just got significantly less fun to watch. But they also had more specific individual issues that I would like to get into.

I stopped watching UA during season 3 and don’t plan on watching season 4. I feel like a lot of people will already know what I might be referring to with this but yeah, the scene where Allison *did that* to Luther made me so sick. I feel like that season absolutely destroyed her character, and as I said, it just wasn’t anywhere near as fun as seasons 1 or 2.

WWDITS is probably the most successful of the three in my eyes but I could still apply the same argument about loss of enjoyment. The “Guillermo wants to be a vampire” plot line got very stale for me, especially with how they “resolved” (?) it. Saying “oh he’s a vampire now oh nevermind he doesn’t actually like being a vampire and also can’t be one anyway so everything’s back to normal” felt like such a waste of time for me. I know a lot of people also criticised the show for queerbaiting because of the Nandermo plot lines and teases. I wouldn’t necessarily call it queerbaiting but I would agree that the “will they, won’t they” is very played out at this point. Another big criticism I have of the later seasons is how Marwa was treated. The fact that she had no autonomy and was being forcibly changed mentally and physically to appeal to Nandor was treated as like, a running joke and I just found it kind of disturbing. Dark humour is pretty common throughout the show, but given how often her character appeared it felt a lot more, significant than throwaway jokes about drinking human blood. I feel like they could have done so much better with her character.

OFMD is probably the most egregious example of the 3. Season 2 was just not good. I’m not saying it was the worst thing I’ve ever watched but it was incredibly disappointing. The pacing was off, the characters were off, the dynamics were off. It was all just very off. The huge cliffhanger ending with Evil Blackbeard felt like it was resolved way too quickly and everything else in the season felt equally rushed. A lot of the character dynamics, but especially Ed and Stede, just felt wrong to me. From what I understand there were production issues or something so I’m not saying the writers just woke up one day and decided to be bad at their jobs but I can only really judge a show by what I saw on my screen, and what I saw was so far removed from the quality of season 1.

5. Finished on a sour note.

UA ended after 4 seasons, with the fourth being released on Netflix today. I haven’t seen anything that indicates whether this was the intended endpoint or whether it was cancelled. WWDITS will end after season 6 which comes out in October. Again, I can’t find anything indicating whether this was the intended endpoint. OFMD was cancelled just a few months after the release of season 2 in October 2023.

I can’t tell other fans how they should feel but for me I’m incredibly disappointed that 3 shows I really enjoyed saw a gradual (or not so gradual for OFMD) drop in quality that ultimately culminated in them just… ending.

Like I said, I have no interest in US season 4, but I am still somewhat hopeful for WWDITS. I would be really happy if they could bring it back to what it was.

Conclusion

I don’t know what the point of writing this was other than the fact that I’ve always associated these shows as having the same vibes and I feel like it’s interesting that they have a lot of similarities and went down similar paths. Also I just like yapping.

[writing-for-life]

No matter how often I say: “Tumblr is built around reblogs, it’s not Instagram. Your likes are appreciated but don’t spread our content”, and how much people actually agree when I do—they still won’t reblog fiction or other niche stuff the next time. But they *will* reblog the most inane shitposts, pretty pictures and metas (unless they’re about music or too controversial 😂). So they DO understand the concept. They just refuse to reblog fiction (or other art that isn’t mainstream).

At this point, I can only assume that the agreement with: “We need to reblog ALL creators’ work if we want inclusive spaces” is performative. Because people will agree loudly with these posts, but then not act accordingly the next time. And the next. And the next (I’m repeating this because it’s not a problem if stuff slips though, no one’s on here 24/7 [hopefully]. And I truly don’t want anyone to feel bad about not catching everything or feel pressured. But it’s not about that. It’s a trend, and we notice).

Actions speak louder than words.

It’s also a bit annoying that people throw the “sour grapes” at creators (“you’re just annoyed you don’t get enough attention”). Of course we want our art to be appreciated, there’s nothing wrong with that. If you care so much about your fandom, stop minimising people’s feelings! But it’s not that, the problem goes a lot deeper.

I have a full length novel out there, it took time to write and I love it to bits, but every time I post a link to it, no one cares. Same goes for one shots because they don’t cater to YKW, and the poetry only flies because it’s linked to an event.

I’m not a BNF, but I have quite a few followers and regularly write posts with 100+ notifs, many of them with a lot of reblogs. But fiction that isn’t smut (ideally for the ship or reader insert)? Maybe 5 if I’m lucky. And reblogs? Maybe one or two if I’m even luckier. Usually by the same people.

And don’t get me wrong: That fic has engagement on Ao3 that’s decent (again, for what it is—m/f OC without E rating), but even there, people say in the comments that they don’t understand how a well written fic gets so little attention compared to some other stuff out there. Well, I do, and all I can say is: It’s not gonna change.

Yes, I could say: “Well, people just don’t like fiction, we have to live with that.” And if it were true I would. But it’s not, because when Ao3 was down, people went mental. There is something else at play, and I’d really like to fully understand what it is, because I don’t.

No one tells anyone what to like. But if you care as much about the fandom in general and your mutuals in particular as you say, you’re not gonna die if you occasionally reblog something that maybe isn’t just your main preference. Because that’s the only way to keep niche creators motivated. But I said it before: I’m just assuming that at this point, you don’t care if they disappear. And that’s, once again, where fandom stops being inclusive. So stop pretending it is—that would at least be honest.

Maybe you need to be a member of a certain clique on here, I don’t know. I don’t really ship, so that’s already out for me. So I neither belong here (Dre*mling) nor there (some of the f/f or m/f ships). Apart from being the Queen-curator of the sparkle realms 😂, I don't engage in any cliquey stuff. And I honestly started that shit because at that point, I was just losing the will to live and needed the fun. And it is fun, and I'm laughing my arse off, don't get me wrong. But it doesn't make the deeper problems go away.

I think what you say about our feelings about the source material getting influenced by what’s going on in fandom is actually quite important, @so-i-grudgingly-joined-this-site

I always had a critical view on certain aspects of the comics (which doesn’t mean that they’re not the piece of literature/art that I still love most, and it’s been causing me brain rot for decades), but I notice how I focus a lot more on them than I used to. Sometimes, I need to step back and put things in perspective again.

And that’s what also annoys me so much about this fandom—critical engagement with something doesn’t mean you can’t like or love it. It is actually essential in my view. I get that some people don’t want critical thinking and “just” escapism, but it’s quite frankly a privilege to think that escapism is possible for everyone if they just “curate their own experience”. If you don’t like or create the main thing, your “escapism” is effectively thwarted. And I just wish people would see that.

And then people will say: “Okay, if it annoys you, make proactive suggestions instead of moaning so we can change it.” I even had a post in my drafts (for the 100th time) to do exactly that. I deleted it, it’s pointless.

Because we make these suggestions all the time! You read them. You agree with them loudly so others see it and give you a clap. But you don’t care to actually put any of it into practice. And I guess that’s what really sucks. It just feels dishonest at this point.

canon typical sunbreak bitching about their main fandom

i have seen multiple people saying s andman is one of the nicest fandoms they've ever been in and i'm like??? i'm glad it hasn't been a horrible experience for you. and i have met some absolutely wonderful people here that i hope to continue talking to for years to come. but also i feel like labeling this fandom as 'nice' does an incredible disservice to the appalling amounts of racism and misogyny here. the show's cast is made up of so many interesting and complex women, primarily black women, and yet most of the fandom gets tunnel vision about the white guys in this show. who are, in fact, in the minority. it makes me upset. in this aspect the s andman fandom is in no way a progressive, or kind, or a positive space to be in

[ninja-knox-ur-sox-off]

GUESS WHAT WE GOT ANOTHER REPOSTER. 

You know, i came onto tumblr really excited to share this dumb doodle comic i did, now i just feel gross. Because this was reposted on an app i do not have an account for and I cannot contact them via there, I’m posting this here, so sorry to y’alls who just trying to have a good time, some people just have trouble being half-decent ig

I was not contacted by this person or asked in any way shape or form to use my art on their account. They do not credit or mention me (not that that would make this any better) and I do NOT want my stuff on tiktok. 

To this person, this is your one and only warning: 

Take. My. Art. Down. Now. 

You have reposted my art, my mutuals art, my friends art and even my siblings art. What you are doing is harmful to me and to my friends. This is disgusting and disheartening ESPECIALLY seeing my art used in such a way that makes me EXTREMELY uncomfortable and I am sick and tired of seeing this. 

Think I’m being harsh? my art has been stolen and reposted and used without my permissions dozens of times and I am getting sick and tired of it. I want to be patient and kind but that’s kind of difficult when i see others not only harming me but also my friends livelihoods and incomes by stealing their art like this. And it is disgusting to see you use a minor’s art the way you did. To you it’s nothing more than a few minutes of posting and a couple of likes. To the artist you take it form it means the difference between a meal and going to bed hungry.

To anyone else who has reposted art in the past or are considering doing so now, DO NOT. It is harmful and cruel and while you’re laughing about the edits you use my art in, I, the creator, and sitting here sick to my stomach and considering never posting again because of your behaviour. I’ve got to wonder if you care about the people you consume content for at all? because from where I’m sitting you look selfish, inconsiderate and cruel. 

If you want to support an artist, REBLOG THEIR STUFF. SHARE LINKS. TELL PEOPLE ABOUT THIS COOL COMIC AND LINK THEM BACK TO THE SOURCE. DO NOT UNDER ANY CIRCUMSTANCES REPOST WITHOUT AN ARTISTS PERMISSION OR KNOWLEDGE. Ask if you’re wondering if you can use art in a tribute or edit. Credit them if they say yes. If they say no, be respectful of the creator you like and find something else to use or better yet, make your own. 

to all my good followers, I love you guys, and thanks for having my back. I really appreciate your support and kindness as I create and deal with this kind of stuff. 

I’m not sure what i’m going to do about this aside from this post, and i really don’t want to make an account for this, hopefully if the reposter has any decency they’ll take down all the stolen art and stop doing this and i won't have to. 

For the time being, I’m not feeling real great, aside from being angry about this, I feel sick, so I won’t be sharing that comic I was going to post. I’m really sorry anyone who wanted to see my stuff is suffering from the actions of this person. Maybe I’ll feel better in a couple weeks or so, but for the time being I’m gonna continue being mostly offline. 

~knox

Edit (July 3 2022): as of today the reposter has taken my art down and a lot of the other reposted work down and posted an apology to me and one other artist they reposted from (they reposted the work of at least six other artists) due to some other issues that I will not be specifying I have blocked them. Again, please don't harass this person if you recognize them. Or any reposters or people who demonstrate bad behavior. Letting people know reposting is harmful is one thing, but attacking them and rentelessly chasing them off their socials is another. Thanks guys hope you're all having a stellar day o7

[zivazivc]

Pinocchio AU

Okay people want the explanation for this comic so here it goes. It’s long and complicated and MESSED UP because of course it is, this is me. I’m going to write in points because my small tired brain can’t handle good english atm but basically to sum up the Adrien was a sentimonster theory or Pinocchio AU as I like to call it:

Young married Emilie and Gabriel can’t have kids. Gabriel reluctantly accepts this fate and even brings up adoption as a possibility once, but Emilie doesn’t want to hear any of that. She’s a bit of a Marinette in the sense that she pictures this romanticized ideal life for herself and a child—her flesh and blood—HAS to be in it.

They keep trying to get a baby while other young families Emilie knows keep growing. She feels left out and hurt and depressed, then her newlywed twin sister announces she’s expecting a baby too and something within Emilie just unhinges.

She eventually lies to some of her friends, who she was out for coffee with, that she’s pregnant too. She mostly does it just to see their reaction and feel what it would be like but it quickly spirals out of control where she just starts pretending she’s pregnant until you can’t even tell if she believes it herself.

Gabriel is confused at first because he hears the news second hand (a friend/family member congratulating him) so he’s apprehensive when he approaches his wife but she convinces him that they really are getting a baby and Gabriel is ecstatic.

It’s only later at a doctor’s check up that Gabriel learns that she indeed is not pregnant. The doctor even speaks to him alone explaining that his wife is in denial and that he should make sure she goes to see a psychiatrist, something she definitely wouldn’t do alone.

Gabriel is unsuccessful with that because he’s not entirely persistent, doesn’t want to be the guy with the crazy wife having to tell everyone she lied about being pregnant, and hopelessly believes she’ll just get over it eventually.

That is until her “pregnancy is near due”—her sister already had Félix in England a few months ago—and he stumbles on her transformed with her peacock miraculous (they already have both of them) creating a sentimonster newborn.

They have a huge fight about it but because Emilie refuses to destroy it, won’t tell Gabriel where the amok is, and Gabriel can’t just hurt the baby with his hands, Emilie just… wins. Fucked up, yeah?

Now she tried creating kids before this one, using her imagination to try and blend her and Gabriel’s looks but it just wasn’t working. So she decided to copy of photos of baby Félix because he already looked almost like a copy of his mother, and Amélie and Emilie already looked alike so it’s not so weird?—is what her mind was telling her.

She didn’t dare alter his looks but she decided to give the baby Gabriel’s eye color to include the “father” in some way. (Yes in that comic I made I gave Adrien a mix of green and gray but that was mainly to get the point across to the perceptive readers)

Now we got Adrien, a normal baby boy to the whole world except for Gabriel who’s forced into his wife’s fantasy through social expectations.

Why are we only at this point and this post is already so long AAAAAAAA!!!

Adrien physically basically grows in a way where Emilie just keeps changing his appearance to match what Félix looked like a few months prior.

Mentally he’s like a robot just taking in information without really needing to learn it. So Emilie decides when he says his first word, she decides when he learns to walk,… He knows how to walk, he just wasn’t given the command to do so yet.

But even so he does develop a personality over time, just slower, because unlike a normal child who’s always testing his boundaries, how far they’re allowed to go until they’re in real trouble, Adrien just can’t misbehave. At all.

But he does have his favorite foods and favorite toys, and jokes that make him laugh the most. The problem is just that Emilie could just decide that his favorite food is strawberries and he’d just start acting accordingly, rewiring his belief. 

He also isn’t allowed to argue or be mean to others which is why Félix thinks he’s a goody two-shoes weirdo while Chloé the brat adores him.

This behavior isn’t so hard to hide with a toddler who’s fickle but it’s harder and harder as the kid grows. Which is why the family becomes very secluded over time.

Gabriel always keeps distance with his “son”. He’s not Dad, he’s Father, he doesn’t do hugs and cuddles, he doesn’t say I love you. But Adrien knows he loves him because his mom told him so and he loves him back unconditionally because Mom said that’s what families do.

Now even though Gabriel is traumatized by this whole ordeal and knowing Adrien “isn’t real” freaks him out he does soften a bit over time. I’m going to give an awful example but like someone who hates cats softening for a cat that their partner/roommate decided to get/had from before. Continuing with this example: But still becoming appalled when the cat starts acting odd/unusually.

Okay I think you get the gist. Let’s move on…

Emilie loves her son more and more as he grows and his sentimonster behaviours start bothering her more and more too. She hates being reminded that he’s not a real boy by people mentioning he looks young for his age because Emilie forgot to make him grow for a while. She hates when he does everything like he’s told. She hates that he has no real friends because they’re afraid to expose him to the outside too much and without supervision. She hates to think about his future.

Her desire for him to be real keeps growing and is what drives her to search for a solution in the miraculous spellbook.

She cracks the script after years, when Adrien is nearly a teen, and finds a way to transfer the creators soul into a sentimonster.

It’s a long process that takes time and while she falls ill to everyone around her, Adrien becomes more real.

Gabriel starts realizing what’s happening when he notices Adrien hesitate for a second when he’s playing a video game and Gabriel wants him to do something, groan when he gets bothered watching TV, huff, complain, have slightly opposing opinions to his and Emilie’s, when he argues with his mother when she tells him she’s feeling fine; when he notices his son’s eyes are greener. Or is it all in his head?

He confronts his wife too late, when she’s extremely ill already, her normally vibrant eyes dulled match Adrien’s bluish gray, and he pieces together in his head what she’s doing.

Before Gabriel could properly think what to do to stop the love of his life from turning into a lifeless doll, in a fit of panic he tries to take her wedding band (where he knows Adrien’s amok is) to get rid of Adrien instead, but is unsuccessful in getting it off her so he snatches her peacock brooch instead (which she needs to complete the spell obvs) and breaks it. (Heyoo! broken peacock miraculous. things are coming together)

Because the spell was almost complete anyway it’s Emilie who falls unconscious. But she doesn’t disappear because she’s not a real sentimonster, she just becomes dormant like one.

This is the point in the story where Gabriel makes it seem like Emilie ran away or something like that—basically disappear. Now he’s living knowing he has an almost sentimonster wife in the basement, knowing he almost killed his son (or her), and having to care for a son that suddenly became much more alive, questioning, arguing, angry, screaming, not accepting, crying, grieving, staring at him with Emilie’s eyes.

Instead of becoming a real parent, Gabriel shuts him out.

Soon Adrien evolves desires for socializing, company, getting away from the suffocating home which eventually leads to him going to a public school.

He slowly starts to live life freely without the restrictions that were put around his thoughts.

Gabriel has an even stranger relationship with Adrien now because he still loves him in a way but also holds resentment toward him. But mostly he sees him as something valuable.

The show happens here…  And now finally we get to the comic…

Gabriel gets a hold of the ladybug and black cat miraculouses. (There’s no epic fight in his lair as you see there’s no Ladybug in the comic but that’s not really important)

What’s important is that Gabriel had deciphered the miraculous spellbook with the help of Emilie’s notes and had decided to use the unification’s “wish” power to awaken Emilie.

He’s aware he’ll need to sacrifice something for the wish to come true and he’s certain Adrien should be enough because the soul inside him is literally the one thing Emilie is missing.

✨Adrien (poor boy just lost his miraculous) is taken to Gabriel’s lair, where he finds out his father is Hawk Moth, sees his mother, learns he’s a sentimonster, and that he’s going to become a sacrifice ✨

Of course the last part is not what happens. It’s Gabriel who ends up being sacrificed.

I can’t decide if Gabriel ends up sacrificing himself because he changed his mind in the last moment while Adrien was screaming for him to stop, OR  because he didn’t love Adrien enough for him to be considered an equal exchange for his wife… O.O

But anyhow…

Emilie wakes up with Gabriel’s soul within her (hence the bluish gray eyes in the comic).

Adrien is traumatized for life.

This took me hours to write… I knew there was a reason why I didn’t want to do it. I hope I didn’t forget anything and my brain made sense of it all

Well there you have it, peeps. The Pinocchio AU. It’s as messed up as my sleep schedule. Good night. 

[attemptsonherlifepdf]

bojack horseman and bo burnham: the art of acting like you’re acting and the comedy of misery

at the core of bojack horseman, raphael bob-waksberg’s 2014 comedy, is a story about the relationship between performance and depression. the protagonist of this renowned tragicomedy is best described as a sympathetic villain; he is shown to clearly be in the wrong across various events of the show, and is explicitly referred to as a bad person, but the audience is granted deep access to his personal struggles, resulting in some portions of the audience finding themselves on bojack’s side. the duality of his character is complex, but can be broken down into some core components, that all stem from the impacts of stardom and performance. the standup comedy of bo burnham arguably echoes this sentiment in real time. having been a performer from a young age, burnham creates work that serves as a satirical commentary on the life of entertainers. he uses original songs to explore the reliance upon and resentment for his performative nature both onstage and within his personal life. both the comedian and the netflix show are widely understood to be thinly veiling their critiques of the entertainment industry behind a particular brand of witty and absurd humour.

both bojack and burnham’s content openly criticises their audiences and explicitly states the manufactured nature of the narrative the audience is fed. in the fifth season of bojack horseman, the show satirises itself by having bojack star in a police procedural drama, parts of which are actively written by other characters to reflect events of bojack’s life. the titular character he plays, philbert, is the epitome of selfish male angst, and an example of what bob-waksberg’s show could have been; another story about a sad and angry man whose guilt supposedly makes up for the people he has hurt. according to bojack, philbert teaches us ‘we’re all terrible, so we’re all okay’, an interpretation that is harshly disputed by diane: ‘that’s not the point of philbert, for guys to watch it and feel okay. i dont want you, or anyone else, justifying their shitty behaviour because of the show.’ this moment is a direct reaction to some of the online reception bojack horseman has received. various circles of the show’s fanbase have found themselves relating to the protagonist to the point of defending his untoward behaviour, a response not intentioned by the show’s creators. this is not the only example of bob-waksberg’s ability to make his work self-evaluative. in season six’s exposure of bojack and sarah lynn’s problematic relationship, characters question their sexual encounter from the first season. the writers use this as a way of examining their own choices, and the harmful tropes they played into when using this exploitative sexual encounter as a gag. this self-evaluative quality is what sets bojack apart as a show that assesses the performance it participates in, much like the comedy of bo burnham.

bo burnham is known for directly addressing his audience, particularly in terms of discouraging idolisation and parasocial relationships. some examples of this manifest as responses to hecklers rather than a planned bit in the show, for instance:

heckler: i love you!

bo: no you don’t

heckler: i love the IDEA of you!

bo: stop participating!

he actively addresses the issues posed by being an entertainer, and encourages the audience to understand and recognise that his onstage persona is just that: an exaggerated persona. not once does burnham claim to be fully authentic onstage, and even moments of authenticity we see in his latest special, inside, are staged. we make the assumption that having the physical setting of a stage stripped away grants us a more personal look at the entertainer’s life, but he makes it clear that even in his own home we still see the aspects he has carefully constructed rather than the full truth. arguably though, parts of the show really are authentic; in his monologue during make happy, bo deconstructs his own show in a way that is similar to bojack horseman’s later seasons, admitting that all he knows is performing and thus making a show about the more mundane and relatable aspects of life would feel ‘incredibly disingenuous.’ in his attempts to separate himself from this onstage persona he actually manages to blur the lines between what is acting and what is now part of his nature as a result of his job. this notion is echoed in bojack horseman as bojack’s attention seeking nature is attributed to his years acting in front of a camera every day.

bo suggests that the era of social media has created a space in which children’s identities mimic that of an entertainer like himself, describing the phenomenon as ‘performer and audience melded together.’ in this observation he criticises the phenomenon. bo attempts to force the audience to recognise the ways in which their lives are becoming shaped by the presence of an audience and to some extent uses his own life as a warning tale against this. he points out the way in which the ‘tortured artist trope’ means that your cries for help or roundabout attempts of addressing mature themes such as substance abuse, mental illness and trauma become part of that on stage persona and therefore become part of the joke. both bo and bojack address these topics in more discrete manners earlier in their careers, but this eventually becomes expected, and thus they are forced to explicitly detail their struggles with these topics in order to be taken seriously. even then, portions of the audience are inclined to see it as part of the persona or as something that fuels the creators creativity and thus does not need to be addressed as a legitimate issue. the emphasis on creating a character or persona promotes the commodification of mental illness: any struggle must be made into a song or a joke or a bit, must be turned into part of the act in order to have value. this actually serves to delegitimise these emotions and create a disconnect between the feeling and the person, as it becomes near impossible to exist without feeling as though you are acting. even when an artist’s cries for help become blatant, they continue to go ignored because now they serve the purpose of creating content that criticises the industry they stem from. online audiences can be seen as treating bo burnham and his insightful work as existing to demonstrate the negative effects entertaining can have, and because this insight is useful or thought-provoking to audiences, he is almost demanded to keep entertaining and creating. in response to this demand, his work becomes more meta and his messages become clearer, and the more obvious his messages, the more people he reaches. this increases audience demands and traps entertainers in a cycle fraught with internal conflict.

during bojack’s second season, bojack’s date asks him, ‘come on, do that bojack thing where you make a big deal and everyone laughs, but at the same time we relate, because you're saying the things polite society won't.’ this moment exemplifies how aspects of his genuine personality have now become a part of his persona and this is demanded of him in genuine and serious situations, undermining the validity of his emotional reactions. he immediately makes a rude comment to the waitress at the restaurant they’re in and satisfies his date by performing that character he has set himself out to be. some circles of the fan base have argued that bojack is written as a depiction of somebody with borderline personality disorder, offering a psychoanalytical lens through which to view this notion of performance. a defining symptom of borderline personality disorder is a fluctuating sense of self; having grown up on camera, being demanded to perform to others as young as six years old, bojack’s sense of self will have been primarily dictated by the need to act.  whether this acting is for the sake of comedy, or as a representation of masking his mental illness, when they need to act is taken away bojack entirely loses his sense of self and relapses into his addictions: ‘i felt like a xerox of a xerox of a person.’ burnham’s depictions of depression run along a similar vein; in his new special he poses the idea that his comedy no longer serves the same personal purpose it once did for him. he questions ‘shit should I be joking at a time like this?’ and satirises the idea that arts have enough value to change or impact the current global issues that we are facing. burnham’s ‘possible ending song’ to his latest special, he asks ‘does anybody want to joke when no-one’s laughing in the background? so this is how it is.’ implicit in this question is the idea that when the audience is taken away and there is nobody to perform his pain to, he is left with his pain. instead of being able to turn his musings and thoughts into a product to sell to the public, he is forced to just think about them in isolation and actually face them, an abrupt and distressing experience.

the value of performance and art is questioned by both bojack and burnham, particularly during the later years of their respective content. burnham’s infamous song, art is dead, appears to be a direct response to the question ‘what is the worth of art?’ he posits that performing is the result of a need for attention (‘my drug’s attention, i am an addict, but i get paid to indulge in my habit’) and repeatedly jokes throughout his career that the entertainment industry receives more respect that it deserves (‘i’m the same as you, im still doing a job or a service, i’m just massively overpaid’). his revelations regarding the inherent desire for attention that runs through all entertainers is frequently satirised in bojack horseman. bojack is comically, hyperbolically attention hungry and self-obsessed, and the show has a running gag in which he uses phrases along the lines of ‘hello, why is nobody paying attention to me, the famous movie star, instead of these other boring people.’ his constant attempts to direct the focus of others towards himself result in bojack feeling like ‘everybody loves you, but nobody likes you.’ his peers buy into his act and adore the comical, exaggerated, laughable aspects of his character, but find very little room to respond to him on a genuinely personal level because of this. interestingly, bojack appears to enjoy catering to his audience and the instant gratification it produces, whereas bo burnham becomes increasingly candid about his mixed feeling towards his audience. ‘i wanna please you, but i wanna stay true to myself, i wanna give you the night out that you deserve, but i wanna say what i think and not care what you think about it.’ he admits to catering to what audiences want from him, but resents both the audience and himself in the process as it reveals to himself which parts of his character are solely for the sake of people watching him.

within bojack horseman, this concept is applicable not only to the protagonist, but to the various forms of performer demonstrated in the plot. towards the show’s end, sarah lynn asks ‘what does being authentic have to do with anything?’ to which herb kazzaz responds, ‘when i finally stopped hiding behind a facade i could be at peace.’ this highlights the fact that because entertainers are demanded to continue the facade, they do not receive the opportunity to find ‘peace.’ this sentiment is scattered throughout the show, through a musical motif, the song ‘don’t stop dancing.’ the song stems from a life lesson bojack imparted to sarah lynn at a young age, and becomes more frequently used as the show progresses and bojack’s situation worsens.

sarah lynn is also used to explore the value of entertainers; in the show’s penultimate episode, she directly compares her work as a pop icon to the charity work of herb, arguing that if she suffered in order to produce her work. it has to mean something. she lists the struggles she faced when on tour: ‘i gave my whole life...my manager leaked my nudes to get more tour dates added, my mom pointed out every carb i ate, it was hell. but it gave millions of fans a show they will never forget and that has to mean something.’ implicit in this notion is the idea that entertainment is the epitome of self-sacrifice. there is a surplus of mentally ill individuals within the industry, largely due to the nature of the industry itself, but some may argue that the cultural grip the industry has, and the vast amounts of respect and money it generates annually, gives the suffering of these prolific individuals meaning.

the juxtaposing responses entertainers feel towards their audiences manifest as two forms of desperation: the desperation to be an individual who is held accountable, and the desperation to be loved and validated. we see both bojack and bo depict how they oscillate between  ‘this is all a lie’ and ‘my affection for my audience is genuine’, or between ‘do not become infatuated with me im a character’ and ‘please fucking love my character i do not know how to be loved on a personal level.’ bojack explicitly asks diane to write a slam piece on him and ‘hold him accountable’, similar to bo’s song ‘problematic’ in which the hook includes the phrase ‘isn’t anybody gonna hold me accountable?’ for his insensitive jokes as a late teenager. their self-awareness is what enables their self-evaluative qualities, but self-awareness is its own issue. bojack grapples with a narcissistic view of his own recognition of his behaviour before settling on a more nuanced, albeit depressing take. originally he makes the assumption that in recognising the negative aspects of himself, he is superior to those who behave similarly: ‘but i know im a piece of shit. that makes me better than all the pieces of shit that don’t know theyre pieces of shit.’ eventually, during his time at rehab he is forced to reconcile with the fact that self awareness does not, to put it bluntly, make you the superior asshole, it just makes you the more miserable one. the show does, however, make a point to recognise how the entertainment industry protects ‘pieces of shit’, prioritising their productive value over how much they deserve to be held accountable, demonstrated using characters like hank hippopoalus. the show itself obviously stems from the entertainment industry, as it is a form of media produced by netflix, one of the most popular streaming platforms available. bojack horseman and bo burnham represent the small corner of the industry that is reflective enough to showcase the damage it inflicts. this is powerful in terms of education and awareness, and urges audiences to question their own motives and versions of performance, but the reflection alone is not powerful enough to help the artists in question. burnham’s candid conversations surrounding his mental health continue to reveal a plethora of issues somewhat caused or sustained by the nature of his career. within bojack horseman, bojack is only able to stop hurting other characters when those characters construct a situation that forces him to face consequence, his introspection alone is not enough. while bojack ends on a message of hope, suggesting to the audience that reverting back to the status quo is not the only acceptable way for events to end, it leaves stinging lessons and social commentary with the audience regarding the unnatural and damaging narrative that performers live through. on a similar but markedly different note, bo burnham’s work and personal progression is playing out in real time, and not in a way that is as raw and genuine as it appears. each bit is planned, even the most vulnerable moments that appear unplanned and painful. his latest special is not entirely devoid of hope, but does translate to audiences as a somewhat exaggerated look around the era of social media and the development of performance, using himself as an example.

the absurdist humour that often acts as a vehicle for poignant statements or emotionally provocative questions is very specific to each media creator. bob-waksberg’s use of puns, tongue twisters and entirely ridiculous circumstances served to simultaneously characterise his points as an expected part of the show’s style of humour, similar to bojack’s emotional instability, but also to make them appear gut-punching in comparison to the humour. burnham’s work is similar in that poignant but blunt statements are often sandwiched between absurd and exaggerated jokes, making them stand out via contrast but not giving the audience too much time to dwell upon them as they are said. performance art is second nature to entertainers, and is presented a an issue that is infiltrating the general population via social media rather than solely affecting the ‘elites’. bojack horseman and bo burnham present the duality of artists simultaneously attempting to level the playing field and increase their chances of survival in the industry, and encourage audiences to know that everyone is bluffing and you’ll never have the right cards anyway.

i.k.b

[birklurks]

I hope I’m not misreading your posts as slightly facetious? They come off that way a little and it just seems like you’re trying to make a point by it, I’m just not sure what it is that you’re looking for. Do you want that author to apologize and take back what she said? I don’t think that you… don’t think that supporting authors and artists is important, and this is more supposed to demonstrate how bad it would be if all fandom wasn’t supportive? I just don’t understand what the endgame is

Hi there anon 👋🏻,

Sorry I missed (what I’m assuming) is a follow-up to an earlier ask. (If it’s not, and you’re a different person, please scratch that~)

"I just don’t understand what the endgame is”

What do you mean “endgame���?? I already secured the mother of all “endgames”.

In the past, engaging with the art and fics I enjoyed cost zero money and was comically low-effort, but now I literally don’t do anything, and I still get to fully enjoy the extraordinary benefits of everyone else’s labor, time and effort.

What could possibly be a better “endgame” than getting everything I want, when I want it, as much as I want it, and exactly how I want it for absolutely NOTHING?? It’s how the vast majority of consumers in our fandom do it, so why can’t I?? 

Especially now that I know that commenting has never really been a thing in the history of fandom, that the “healthiest and most satisfied creators” 🥴 (i.e., the *good* ones) write for themselves, that lack of reader engagement won’t stop writers from writing, and we can treat these concerns for what they *actually* are: whining that can be taken with a “grain of salt”.

Do I want that “author to apologize and take back what she said”?? No, of course not. Why the hell would I?!?!?!!?

She generously took time out of her busy schedule to impart her history and valuable knowledge on the ways of fandom to me, and in doing so made my experience as a consumer first and foremost a trillion times more convenient than it already was. And for that, I am eternally grateful.

There is no reason why my lurkership should ruffle any feathers or cause confusion in any way. What I do now is no different than how the vast majority of consumers in our fandom enjoy fanart and fanfics - and in my case, I actually have the sage words of a bonafide fandom veteran to justify and legitimize my endless voracious silent consumption. 😇

All of our fandom writers who whine about feeling demoralized, unseen, and unappreciated should follow the shining example of this kind, selfless and truly virtuous author and stop expecting anything they value for their extraordinary efforts. 😠

Instead of being entitled, problematic and wasting their time complaining about baseless nonsense, they should be writing even more free content for deserving silent consumers like me. 😤   

CHOP CHOP, WRITERS!! 

[seimeinotaka]

Rêverie (An OberonXGudako fic)

MASSIVE LOSTBELT 6 SPOILERS INCLUDING OBERON'S PROFILE AND BOND CE

Summary: Oberon has been unexpectedly summoned to Chaldea. He wonders why he is even there as he reminisces what happened in Avalon Le Fae. But it seems Ritsuka isn't leaving him alone, much to his annoyance.

Thanks to jellyfishy for beta-reading this!

Once again, the story has major spoilers for LB6, Oberon's profile and Bond CE, as well as important plot points of Solomon, LB1 and LB5.

There's implied one-sided love, mentions of heavy topics such as loss, and mentions of deceased characters.

"Master, Master, you've gotten better at this!"

"Thank you, Gogh! I've been practicing a lot using the tips you and Oui gave me. Even Jeanne Alter praised my background, hehe!"

"Hey, I said it was passable. Pas-sa-ble!"

Ritsuka Fujimaru has been drawing something in the cafeteria, surrounded by many servants that come and go. No one asks what she is doing, they all seem to know or if they don’t, they don’t bother to ask.

It is so bothersome. Annoying.

So many people surrounding her, like an ultraviolet lamp that attracts all the bugs. Never mind that they end up getting zapped the moment they ever dare to touch it.

The people, the sound, the merriment, it all annoys Oberon, who only watches in silence as he eats some ice cream with melon.

To be able to smile like that, even after discarding all of those stories...Oberon doesn't hide a crooked smile. In the end, the lostbelts are no more than faint dreams doomed to end, forgotten by the winners, the panhuman history citizens. Ritsuka Fujimaru isn't different. For her, it's like reading the doujin the swimsuit berserker is making. Once the pages are closed, the story ends and it ceases to exist. She can choose to forget.

Truly detestable.

-

Oberon stares and then walks away, just as Ritsuka lifts her face. She looks around, the feeling of being watched faintly breaking her concentration.

But in the end he doesn't say a word as he leaves.

-

“Hey, you keep looking at Master!” Jeanne Alter slams her hands on the table where Oberon is sitting. Said Master is working again, too enthralled talking with Gogh to notice Jeanne Alter slipping away to talk to him.

“Does it bother if I do?” He gives her a crooked smile as she huffs and scowls. Though of course her face turns slightly pink.

“Tch, of course not! It's just your stare is getting on my nerves! Wouldn't you get distracted if someone is looking at you intensely?”

“I am a creation, not a creator. I wouldn't understand what you're saying. Besides, I wasn’t looking at her or you anyway,” he says mockingly.

“Hmph, whatever you say. Leave when Master is drawing, what she is doing is very important and I won't let you make it messy.”

“Hah, a page of your little comic? As if you need a lot of care. But fret not, I am certain that with your keen insight and guidance it will be something so memorable, up to the level of the famous writers here in Chaldea.”

“You bug...Bring it, I will burn you to a crisp! Moths do like fire, don't they? Surely you will feel at home then!” Jeanne Alter laughs. “I'll let you know that it is something so impressive that it would make you cry, if you're capable of that anyway.”

Though her Saint Graph right now is one of a Berserker, it seems the insight of the Avenger still exists deep within. After all, only those who are similar can recognize each other. Fake recognizes fake. Emptiness recognizes emptiness. Hate can only recognize hate.

Though come to think about it, Ritsuka has always been writing, he noticed she kept a small book on her, during quiet times. Perhaps a diary of sorts. It wouldn’t be surprising, to record everything she has experienced, as the writer of the winning history.

-

When we die, we'll become like those stories. Our lives are stories that might be discussed and forgotten, so it's not that different from your midsummer night dream.

A dream you forget once you wake up from your slumber.

“You're a tsundere,” Ritsuka says flatly as she rests her chin on her hand. She even dares to give Oberon a shrug and a smile, as if she can tell the truth between the lies.

“Ah, you're annoying.”

“That's exactly what I'm talking about, hehe!”

An obnoxious smile continues to be on her face, and he simply looks at her with unveiled disgust and apathy.

“Why am I even here?”

“Well, you answered the call, so you can only blame yourself for that.”

“What.”

“The rayshift system call can be refused. That's an inescapable truth. You lie a lot but there are some truths in your words. Or actions in this case. You wanted to be in Chaldea, even if you don’t want to admit it.”

“Ah there it is, your virtuous nature shining through. One day you'll be fooled by someone who is pretending to be your ally...ah, my bad, that has already happened, isn't that right? Maybe you should learn your lesson.”

“Ah, yes. But it doesn't change that you are here. And because you lie often, that means I can just take it whatever way I like. You'll just deny it even if I'm right. But you can't deny we get along pretty well!”

“We do not!”

“See, that's a lie!”

“Ah, I'm going to the cafeteria! Don't follow me!”

Yet we thrive on dreams, don’t we?

“How long do you think I've been in this business? Have you interacted already with some of the servants here? I can tell you don’t mind my company.”

“I quit, I'll break the contract!”

“So, one cube or two?” Ritsuka dares to offer him the sugar cube container, even holding some tongs, just to put the amount he requests in his cup.

“You really want a poisoned tea, right, wonderful Master?~”

Even if they are something that doesn’t exist, we yearn for them, even to make them a reality. No matter how impossible. No matter how painful.

That is why we can never get rid of them.

Even if we forget once the veil of dawn has ended, something of it remains.

-

“There's so much that is subjective. For example, you were Artoria's Merlin, weren't you? For a moment you were Merlin, that was her truth. There's different Merlins, I mean we have different Artorias here from different eras and classes. You were a different Merlin than the one I know.”

Ritsuka is busy trying different colors. Oui and Gogh got into a discussion on how to best get the tones she was aiming for, and they even went to do some research on their own. The reds of a forest seem familiar yet not quite right, not that Oberon was looking at the notebook.

It has to have a dreamlike feeling, that’s what she wanted, but that’s not easy to pour into a painting.

“What we see as a lie or as truth, it changes with our perception. Your lies and my truths might be different, but it's ok. In the end we have only one perspective. That's why lies and truths can mix, that's why contradictions exist. I mean, that is why you are here.”

“Here's some advice from the bottom of my heart, don't quit your day job, Master. Stick to the world saving and leave the philosophical dissertation to virtually anyone else.”

In the end, does the truth really matter?

Something that can change when you close your eyes. Something that is as fleeting as a moth's life.

Would anything change in the grand scheme of things?

To protect Ritsuka, Chaldea forged a story, one where Romani Archaman was at fault for everything that happened.

To the world that is on the verge of disappearing, that became the truth.

To everyone in Chaldea, the truth is that this girl worked harder than anyone to protect this world.

That was what Sherlock Holmes said once they met. Oberon didn’t like him, but in a way he seems familiar. Holmes is a great detective, but since he keeps everything to himself, he might be wrong the entire time until the last minute.

So it’s not like Oberon can take him that seriously.

Even so, he told him the story of the great journey before Panhuman History was at risk by the Alien God. A story of which he was somehow aware, but it seems different when it is told by someone else.

To Oberon, it was a story of selfish survival. A fitting story of those who fight in the mud to continue existing.

To Holmes, it was a story of humanity bravely fighting to avoid destruction. An unlikely event that might have inspired others. Or rather, that is how the Leonardo Da Vinci from that time would have framed it, since Holmes isn’t an author and the current Da Vinci is someone different now.

The events are there, what changes is our perception of them. Perhaps this is where truths and lies take root, the lie of today becomes the truth of tomorrow.

The lie allows the fake existence to continue even when the dream has already ended.

But in the end, everything will fade, so nothing really matters.

-

"Well, I don't know if it has a meaning, but doesn't that mean you can give it your own? Just like how I can take your lies the way I want."

"Aren't you a simplistic one? No, perhaps it is that kind of thinking that has let you get this far. What a naive Master Chaldea has. Though it helps you accomplish your goals. "

He is not sure why they are taking tea while chatting, but here he is. Perhaps it is to hide his annoyance, the Master won’t stop until she gets what she wants anyway, so he is just avoiding a pointless squabble.

"You can think whatever you want~ and in any case, even if the feelings of today will be nothing in the future, that doesn't mean they are worthless. Because they affect the you of today and that is the moment when you are alive.”

The joy of living, that is something Oberon can’t understand nor tolerate. It angers him.

Of course, he is an entity of the abyss so how could he comprehend that?

The will of self-destruction, the cessation of existence. That something is so fundamentally wrong that it must wiped out, for there is no way to fix something that crooked.

Faerie Britain wished for him because it had to be wiped away from all records, because it had no way of being salvaged.

Therefore, he can only listen to those words.

(Perhaps it is the envy of not having something? Perhaps it is the bitterness of no longer having something to do, to dream for? Or simple ennui that no matter what, in the end it doesn’t matter?)

Ritsuka ignores his silence, as she continues.

“I don't know but for someone who likes stories you don't seem like you're actually enjoying them.”

“Would you enjoy a story where you fade away like everyone in the lostbelts you have erased? Ah, my bad. Surely, as the winner you can afford to disregard those stories. Silly me, of course you would be able to believe that as the victor you can claim to be the true history. Panhuman history is in the end mankind's right path, after all, and everything else can fade into the abyss.”

Her smile is complex, almost a facade. From one angle it looks like a forlorn frown, from the other a faint smile. She plays with the spoon on her table.

"Hmmm, I wonder..."

 Dr. Roman, we finally beat the British Lostbelt. It was unlike any other places we were, and I keep thinking of Percival's words...

   I wish you were still here.

The sacrifice of someone can mean the whole world for a single person. The sacrifices of millions can become a mere statistic, a simple cold number to show how bad an event was. In the end, it doesn't matter.

What was once lost will never come back.

The void left in one's soul will never heal, it only becomes more bearable with time.

But even so, that lingering pain is the proof that someone was alive, that they left a mark on the others they met as one looks at the twinkling stars and reminisces of the never-happening-again past.

“Did you know the true opposite of love isn't hate but indifference?”

“Haaah? Perhaps you didn't think so but I was being honest about my suggestion. Thinking too much will only hurt your head. You should only focus on what's in front of you.”

“Whether you love or hate, you end up putting a lot of attention to the object of your affections, but if you're indifferent to it, it ceases to exist. Perhaps your hatred of everything is because there's something you cannot afford to lose.”

Titania was the wife of Oberon in Shakespeare's Midsummer Night's Dream. She was the only one who could accept the king's eccentric personality.

But in reality, she was just a creation for the story, a being who was never real.

Of course, there isn't a person like that in the world.

Someone who accepts a hollow entity like me.

“I don’t know, if Arjuna Alter was able to come to terms with his own humanity, well...nevermind. I was just thinking aloud.”

(Ideals are just that.

A concept not belonging to this world.

It is when you reconcile with the flawed reality that you can grasp your happiness, the one you have.)

“Heh-Hahahaha, that's rich, Master!”

This is so sickening.

Only Titania could have loved(tolerated) such an unpleasant existence. Only Titania could have loved(tolerated) a being born of hate, a destructive force whose only purpose is to rend everything to ashes.

But the fact is, Titania doesn't exist. This means no one could accept someone like him.

That is the unpleasant truth.

That is why people are entranced(poisoned) by falsehoods, lies to sweeten the body and protect the soul. It's a sweet elixir to hide from the harsh reality, the ultimate end of the journey of everyone, a pointless, worthless life. Because at the end of the dream, no matter what one has accomplished, it doesn't change the finale of this story and it is doomed to be forgotten. 

Just as the one princess from before, who also fell in love with the Fairy King. The one who tried to give fire to his cold body. But he didn't notice this, not even when her snow body had ceased to move, a protection of love.

So in the end, if it's not acknowledged, it is the same as it never had happened.

“Tell me, does it matter to you? Are you going to tell me you know how I feel? That you understand what I'm going through? Come on, tell me your important story, that everything is going to be alright as long as I'm not alone-”

“I can't. I don't know how you feel. Even if we had suffered the same, I wouldn't know how you feel.”

Her words or her smile, the same as before. He doesn’t know which but it cuts him short.

“All I know is the pain of losing someone important to me, but that's not what you're feeling, right?”

The Titania I wish for doesn't exist in this world. The Faerie Britain that gave birth to me no longer exists, even if I have accomplished my goal. 

I am merely a dream whose purpose has been fulfilled and thus, the curtain shall be down as I exit the stage.

The things I yearn for are merely dreams. Even so, I hope, because I saw it existed for someone else. For another Oberon, not the one I am.

The illusion of happiness, the hope of a love.

I don't know how it is to not be Oberon, the lying king. The king without any other purpose. The villain that has exited the stage having won, but now even that victory is pointless.

Then, why am I still here? 

“For what it's worth, I like you. You're nice company, lies and all.”

“You’re an odd one.”

“I've been told that often.”

“It's not a compliment, you have no taste.”

“You know, for Panhuman history I am the hero, ensuring our world survives. But to everyone else from every lostbelt erased...I am the worst of the worst, the villain that destroys their world.”

Ritsuka traces the notebook on her hands. The contents of the rest could be disclosed but Oberon doesn’t open any of the other pile of notebooks, so they all lie on her bed.

“Patxi cursed me for showing him a world that he thought was happier than his.”

Tears fell from her eyes as she smiled weakly. “I wonder if that was ever the right choice.”

“Panhuman history isn't the perfect utopia you can imagine. Humans seek hatred and war, there's suffering and agony. While some can lead happy lives, there's so many who can't even enjoy a warm meal or think of a future. Kirshtaria saw that, he wanted to make a better world because ours was so imperfect.”

“Why are we still going?”

“Why was ours the correct one?”

“Even now, I don't know. And I'm not sure if I'll ever know. Any justification might seem a rationalization, something to feel less guilty for killing all those people.”

“That is why I cannot forget, I cannot let the history of those lostbelts be erased. Even if I'm the only one who remembers,” her grip on the notebook tightened, “I can never forget them.”

Like a dream, one time Oberon caught sight of what she was drawing, finally reaching the dreamy red hue she long sought, depicting the autumn forest Oberon knew and hated.

The words depicting what happened in Faerie Britain, the stories of Artoria, Morgan, of Barghest, Baobhan Sith and Melusine, of Aurora, of Mike, of Ector, of Knocknarea, of him.

“Even if the rest of the world forgets, I cannot. That's why I want to record as much as I can. I caused them to disappear, remembering all of them is the least I can do.”

“That's guilt for you.”

“...Yes, I can't deny that. I've caused many people to suffer, that is why I cannot stop.”

“You're an idiot. Pursuing a fleeting dream that will only cause you to hurt, as your heart tears itself apart with these thorns you surround yourself with.”

“I guess. But someone has to do it right? But even so…

“I enjoy the moments with everyone here in Chaldea and I can say I'm happy.

But I also feel deep sadness for everything that I have done and continue to do.”

There are many contradicting truths, woven into each other.

Like overlapping threads in a beautiful(horrible) story.

“I could think Panhuman history is the correct one because it was there. There was a reason why it was chosen.”

“And if there isn't? If there is truly no meaning to your journey? That the reason your world was chosen was a mere whim of fate, a sudden lucky roll of the dice? That there is nothing special to your world that makes you worthy of the title of proper human history?”

“Then I guess I will have to make it so that there is one.”

“And if you can't?”

“Just because I can't doesn't mean I shouldn't try.”

“Trying doesn't mean you will succeed. Morgan tried her hardest, but in the end, she still failed, crumbling in despair as her Faerie kingdom burnt to ashes.”

“Well, that will come bite me when the time comes, but for now, that’s all I can do, right?”

In the end, as long as it entertains, does it matter?

What is the purpose of a story? To bring joy(tears)? To break one from that moment of boredom, of despair, and heal the soul even if just a little?

And in the end, does it even matter?

-

“I like this Saint Graph more.”

It’s been a long time since he has donned the clothes as King Oberon. Once the façade was over, once he could ascend, he has never worn anything but the colors of the depths of the abyss. Anyone else would think they are unsightly, hateful, depressing.

After all, the warmth of King Oberon’s butterfly wings makes children smile, makes people trust him. His monstruous limbs right now are not enchanting.

“I thought you were a butterfly girl. And I have been wearing these ever since, why are you even saying this up until now?”

“I just wanted to say that. I like the fluffy cape and the butterfly wings, but you sound less pained right now. And this outfit is cool too.”

In the end, perhaps Titania isn't meant to be someone who brings the sun to your eyes, with laughter so contagious that she makes the bitterness of a day go away. She's not a neverending warmth on a cold winter, nor a guiding bright star up in the dark sky. She's not the simple to your complicated, the light to your dark, the smile to your frown, the opposite of your miserable existence that brings joy to your life. An illogical being that accepts you in spite of your incompatibility. 

Was I wrong all along? 

A companion when watching a wonderful(decadent) play.

Someone who walks by your side in a crumbling world.

Someone whose company makes the poison more bearable and hell, tolerable.

Someone who simply loves me for who I am. Who gazed at the abyss, saw the void yet didn't run away.

Ah, this is so laughable, an amateur terrible tragicomedy, a hideous play with no sickeningly sweet ending.

(Perhaps it is because Titania is a wretched creature herself. Or perhaps because Titania's wings have been torn off that she understands a small fragment of you. Even if true understanding is a lie, a pipe dream. Titania has seen her own hell and can sympathize with yours, with the emptiness and resentment you hold. Not fearing it, not judging it. Just accepting you as the flawed existence you are.

If that is the case, then there is nothing beautiful about Titania.)

But even so...

"...You are..."

"Did you say something?"

"No, nevermind."

Ritsuka smiles as Oberon looks away. He grumbles about the cramped space as he hoards the bed, swatting a mosquito away while she writes in her diary. The boring stories she writes that he doesn't care about even if his fingers have traced those letters.

But even so, he stays.

Ah, love is a bothersome thing.

-

Thank you for reading!

Now, OH BOY WHERE TO BEGIN. Title comes from Debussy's Rêverie. I wanted to play with it, seeing that Oberon's Bond CE is called Pavane for a Dead Princess, which is the title of a melody by Ravel. I am sure it is no coincidence. Both Ravel and Debussy were considered the cornerstones of Impressionism in music, however, they both HATED being labeled like that.

Pavane for a Dead Princess is one of Ravel's solo compositions for the piano. However, unlike what the title implies, Ravel specifically said that it wasn't meant to be a melody of a funeral, but he wanted to evoke the idea of a princess dancing to the pavane. However, some people didn't really listen to him. So in this case, I think that rather than to see Oberon's CE as a funeral to Blanca, it is a way to celebrate her story, even if it didn't end on the happier note we would have wished. You can listen to it here

Now Rêverie is by Debussy and it's meant to feel like a dream, hence the name. The melody became a massive hit, though Debussy later hated this piece because he felt that he had written better pieces but this one was the one that made him famous. Since it was written when he was young, he felt he was still lacking a lot, but the melody became one of his most popular compositions nonetheless. I think that story ties nicely with what we perceive vs what others perceive. You can listen to it here

Now onto the actual fic, I had this vague idea when part 3 was released, especially after all the spoilers about Oberon's true identity. I really wanted to get him, and I was super lucky. In between getting him, his profile and bond lines being translated, I just got possessed to write this as a way to honor and thank him for coming home AND to give him a sort of happy ending after Avalon.

Oberon in that bed is thanks to that comic on Twitter where he is eating chips without any care and the kind reminder of his voice lines that in spite of him constantly complaining, he spends an awful lot of time on our room. Hehehe.

Best of luck if you are pulling for him! And once again, thank you for reading!

[starfast]

So you want to write an autistic character

So I watched the trailer for Sia’s movie just to see if it really was that bad. Spoiler alert: Yes it is. It made me feel like Sia was making fun of me for two and a half minutes. But it also made me really fucking angry because there’s not autism representation to begin with, and most of what we do have isn’t really that great, which is what drove me to make this post. I don’t have many followers so even if like 3 people see this, then at least that’s 3 people who have seen this.  

What would I like to see less of

Literally incapable of detecting sarcasm: “Wait,” you say, “But Starfast, there are autistic people out there who are like this!” Sure, there might be, but for me personally detecting sarcasm is a lot less difficult than literally every autistic character has made it out to be. Yes, there are times where it goes right over my head but those times are usually when there’s not enough context for me to figure out whether the person is being sarcastic or not. Some of us actually are able to tell when you’re being sarcastic, it usually depends on context.

The “Sheldon Cooper”:  Autism is really diverse and yet I feel like 99% of autistic characters are basically all just carbon copies of Sheldon Cooper from BBT. They’re maybe overly formal, blunt, or have a hard time picking up social cues. And while these are all things that are commonly associated with autism (although this type of character rarely shows any major downsides to having autism, more on that later), like I said earlier, autism is different for everyone. Not all of us are going to feel represented by this type of character. Honestly I don’t even relate to a lot of autistic characters because they just keep reusing the same autistic stock characters and that’s really disheartening to me. It’s almost like they’re not making autistic characters for autistic people.

The Burden: This probably doesn’t need to be explained that much but it was the one thing that really pissed me off about S**’s movie. In the trailer, I really got the very distinct impression that the older sister saw Music as a burden. Her life was just oh so difficult because she had this autistic sister. No one wants to be thought of that way. And idk if you neurotypicals know this but autistic people have feelings and we hear it loud and clear when you say these kinds of things and it hurts. 

Using autism as a punchline: I think it’s fine to have an autistic character to provide comic relief, BUT! if your comic relief involves laughing at an autistic character’s very autistic behaviour then you’re doing it wrong. This kind of goes back to my first point- the reason why I hate seeing the “incapable of detecting sarcasm” character is because it’s almost exclusively played for laughs. Please stop making fun of us. 

What would I like to see more of

Diversity: I feel like this doesn’t really need much explaining. Autism can affect anyone regardless of age, race, gender, sexuality, etc. And yet most autistic characters I’ve encountered are straight white guys. Let’s see more girls, more POCs, more LGBT+ who are autistic. 

Obvious drawbacks/struggles: When I talked about the Sheldon Cooper-type character I mentioned that this type of character doesn’t really seem to face many challenges that are directly related to autism. What I mean by this is that sometimes they’ll maybe just miss the odd social cue and it’s kinda embarrassing but it rarely gets worse than that. An autistic character is going to face challenges that a neurotypical won’t ever have to deal with and if you don’t acknowledge that then you’re not really properly portraying an autistic character. Show more autistic characters struggling to make friends, having meltdowns or experiencing sensory overload, having a hard time articulating themselves. The list goes on, honestly. 

Actually saying it: Have you ever seen it where there’s a certain character and a bunch of people go “hey, that character seems like they could be [insert literally any minority] and then the creator goes “Oh, yeah that’s totally what I intended!” I personally don’t really like this, because it feels kind of disingenuous. If you’re going to write an autistic character, it would be nice to have that brought up within the story. Autism isn’t a dirty word, you’re allowed to say it. The only exception I can think of would be if you’re writing a historical fiction or some other setting where autism hasn’t been recognized but most examples I can think of don’t fall into that category whoop there it is. 

Literally just anything that isn’t a stereotype. This seems to be setting the bar pretty low, but it still needs to be said. Autism looks different for everyone and just because someone doesn’t fit the mold for a stereotypical autistic person doesn’t mean they’re not autistic. No one wants to be represented by a stereotype. 

“I’m not autistic but I want to write an autistic character. Can I do that?” 

I can’t speak for the entire autistic community when I answer this but my opinion is yes, it’s ok provided that you’re being respectful and doing research beyond reading symptoms off of WebMD. That being said, here’s my final advice: 

Listen and talk to autistic people: If you’re not listening to the group you’re trying to represent then you’re not doing a good job. There are lots of people here out there who would be willing to answer your questions or be a sensitivity reader. There’s a lot of people here on tumblr who are willing to answer your questions (you can even ask me, but I’m just one person and I don’t have all the answers. I’d recommend talking to multiple people). 

Autism Speaks is not your friend: There’s been a lot of talk about why this organization sucks, but it mostly boils down to trying to end autism and not actually helping us. So make sure you’re steering clear of them while you’re doing your research. 

Reddit and Quora are actually great resources: Reason being is that these kinds of sites will give you lots of first hand information about being autistic, and that’s the best kind of information to have, usually. Most sites will just list symptoms, but the right reddit/quora thread will provide more insight about how these symptoms affect their daily life. Additionally, you’ll have multiple people offering their own views and since autism is so different for everyone it’s good to have more than one person’s opinion (psst... this tip works for writing other minority characters too!) 

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

[immaturityofthomasastruc]

#9: “Ladybug can't be akumatized because I said so!”

In the past three seasons of Miraculous Ladybug, Marinette has been through a lot. In addition to struggling to convey her feelings to Adrien, she has also fought several supervillains on a weekly basis, been subjected to all kinds of humiliation, and has had her friendships tested thanks to Lila's lies. Despite all of this stress, Marinette still hasn't akumatized, though she came close in the episode “Ladybug” (Hawkmoth was forced to abort his plan at the time). But because she was so close to becoming an Akuma, fans naturally wondered if this was only a taste of what was to come.

So someone on Twitter raised the question if Marinette would ever actually be akumatized. By this point, you can guess how Astruc responded.

As usual, despite being polite in the way this person phrased their tweet, Astruc acts like they're being ridiculous to even suggest something like that. And honestly, I'm surprised this tweet hasn't gotten more criticism from the Miraculous Ladybug fandom. Like, I think it's up there with the stuff he says about Chloe, it's that bad.

I mean, how can any writer say something like “That's a difference between an idea and a story” with a straight face? The difference between an idea and a story is that a story is simply an idea fully realized. That's it. This is like saying there's a difference between a recipe and an apple pie. One's still a page in a cookbook, the other is for dessert at Thanksgiving dinner because someone followed the recipe from said cookbook.

At the same time, Astruc barely explains why Marinette getting akumatized wouldn't work. What does he even mean when he says to think about when Hawkmoth talks to Marinette? Does he think she'll immediately hand over her Miraculous to him before going after Cat Noir? Does he think Cat Noir isn't able to stop Marinette should she get akumatized? What is he trying to say here? It's not like someone with a Miraculous can't be akumatized.

Someone brought up the fact that not only has Cat Noir been akumatized (As well as Carapace, Rena Rouge, and Queen Bee), but since the Rabbit Miraculous has the power of time travel, they really aren't bound by anything, especially since the whole plot of “Cat Blanc” was that Bunnix helped to undo the timeline where he was akumatized.

And what does Astruc say in response to this? You won't believe it. The lack of self-awareness is purely mind-blowing here.

Yes. He actually claims that his show isn't just spinning its wheels by doing the same thing over and over again. How can he think something like this, when he literally had two separate episodes in Season 3 that were about Marinette and Adrien figuring out each other's identities and then undoing that massive plot development by the end? Are you telling me that isn't deceptive?

Astruc, how can you, as a creator, say what can and can't be done? You can't tell me that not a single person thought the concept for Miraculous Ladybug was ridiculous. If someone did, it obviously didn't stop you from going ahead and making your show. For God's sake, a big part of what got people interested in Miraculous Ladybug in the first place was the concepts introduced in the show, like the Love Square and Hawkmoth's Akumas. There are a lot of fans who outright think the actual show is garbage, and consider several fan works to be far superior, like @miraculouscontent‘s LadyBugOut AU, or @zoe-oneesama​‘s Scarlet Lady comic. Do you know why they made those? Because they had an idea (both ironically based on the show's poor writing), thought about it, and converted it into a story.

But then again, I don't think I've ever heard of a TV show where the main hero was brainwashed to work for the villain while the other characters have to stop them—OH WAIT.

Yes, arguably one of the most iconic episodes in television history, “The Best of Both Worlds” from Star Trek: The Next Generation follows a similar premise to what Astruc thinks can never happen. In case you live under a rock and haven't seen Star Trek, this episode is about Captain Picard getting assimilated into the hive mind of the Borg, forcing Commander Riker and the rest of the crew on the Enterprise to step up to stop the Borg from using Picard's knowledge of Starfleet to assimilate Earth.

This episode is often considered by many Trekkies to be the pinnacle of the entire franchise in its 54 year run, and the drama of Picard being assimilated is one of the key reasons. Without the Enterprise's fearless leader, there's a level of uncertainty to the situation, best reflected in Riker's reluctance to take charge as the new captain. It was even more interesting to see the crew's struggle to choose between defeating the Borg or saving Picard. There's a reason why the cliffhanger at the end of the first part was so shocking, as it showed Riker's development and willingness to do whatever it takes to save the day, even if it means possibly killing Picard.

You're telling me we can't get anything like that with Cat Noir or any of the other heroes if Marinette gets akumatized?

Hell, there's also a lot of narrative possibilities that could come from Marinette dealing with the trauma of being Akumatized. She could mentally berate herself for letting this happen to her, claiming this shouldn't happen and how she almost got everyone killed while working for Hawkmoth.

You know, like what the episode after “The Best of Both Worlds” did with Picard emotionally venting to his brother.

How come that can't happen because of what Hawkmoth says to Marinette?

Oh, wait! I get it now! “The Best of Both Worlds” is an actual story, but thinking about Marinette getting akumatized is just an idea because it hasn't become an actual story yet. It all makes sense now!

Then in that case, I guess these are just ideas as well.

[kingk8art]

hetalia rant

pls ignore how I won't use any proper punctuation or capitalization because my arms and fingers all hurt from volleyball :( Edit: My arm’s are better now so I’m actually using proper capitalization and punctuation (special thanks to my friends for proofreading and also Google autocorrect.) Special thanks to my friend for helping me out with writing this.

so i'm one of those people who joined the hetalia fandom like REALLY late, having first watched the anime in like 2017 or 18. Nevertheless, when I heard about how the anime was coming back in 2021 I was really excited!! I’ve been reading world stars lately but there’s just something in the hetalia anime that made me love it so much. the voice acting and how it’s animated and everything, it really brings the characters to life! out of curiosity I searched up hetalia on twitter. keep in mind that i’m pretty new to the fandom so i never really got to see the shipping wars, or really any toxic part of the fandom, since i wasn’t there when hetalia was at its peak.

What i saw was really different from what i expected to see. I kinda expected twitter threads hyping up the new season, or things like that but most of ones I found in the top section were hate comments about hetalia, and things about why it shouldn’t come back. I was reading these and I was like, wait why? Some of them actually made sense, and the others had flawed logic. Here are my rants on why hetalia ISN’T anti-Semitic or problematic (as of now).

Misconceptions About Hetalia

1. Hetalia is About Nazi Germany or the Holocaust

If you’ve actually watched the show/read the manga, it’s quite obvious that although some of the events take place during WW2, it never mentions Hitler, Nazis, the Holocaust, or anything like that. and there’s a good reason for it. In the first place, hetalia isn’t meant to be a serious comic. The manga only focuses on subjects like funny things that happened to historical figures/occurrences during a war, weird inventions; generally those kinds of things. It focuses on the cultural differences between countries, or wholesome moments in history (such as when two enemies stopped fighting on Christmas day to play soccer.) Hetalia itself is antiwar. Consider the main character himself: he absolutely hates fighting. I don’t see how hetalia can be anti-Semitic or pro-war at all. But what I will say is fucked up are those certain cosplayers that did the Nazi salute, posed in front of a Holocaust memorial, etc. But I can still guarantee that the MAJORITY of the fandom is not like this. Every single fandom has its bad apples, some more than others. It’s not right to generalize the entire fandom as anti-Semitic, racist, disrespectful shits.

Do people realize that Germany’s character in Hetalia isn’t Nazi Germany?  In the first place the Holocaust wouldn’t be Germany’s responsibility — the depictions of these characters are meant to portray the people as a whole, not their systems of law or government. It’s stated in the series that nations MUST obey orders from their “boss” (which probably refers to the country’s ruler, president, prime minister, or other leaders at the time. Nations can’t choose what their superiors do, or what those under that control do. Saying Germany is humanized Nazi Germany is like putting that label on all German people without considering factors like time period or representation. Hetalia characters are a mere representation of each country’s people, nothing else.

How does mentioning WW2 in a comedy make it offensive? There are PLENTY of movies, novels, and other kinds of media that take place in WW2 and yet are in the comedy genre. Ever watched Jojo Rabbit? If you thought Hetalia was offensive, have you ever watched South Park or looked at CountryHumans? I do get why some people dislike Hetalia, but why does it receive so much hate for something that was never in the series (or generally speaking, for the wrong reasons)? It may have flaws, but there’s a strong definition to what those flaws actually are. It doesn’t revolve around antisemitism or Nazism. 

2. Hetalia is Racist and Stereotypes People

Now this is a pretty controversial topic. Being a comedy about personified countries, stereotypes are really something that HAS to be used at some point to make the characters funny. But does that automatically make it racist? No. I saw this on a YouTube video comment section somewhere, but stereotyping (generalizing) that all stereotypes are ‘bad’ (or have negative connotations/associations) is literally stereotyping. Not all of the stereotypes are bad. Like the way Britain acts like a gentleman or likes drinking tea, which in a way, is a British stereotype. That’s not a bad thing, just funny to see in the show — played for comedy purposes, and not necessarily offensive.

Although Hetalia characters are sometimes influenced by stereotypes that revolve around the actual countries and represent the people in general, they DO NOT always represent what those country’s people are actually like. Also, I’m pretty sure the point of comedy about personified countries is to use some of those generalizations. Specifically, stereotypes that the Japanese have about foreigners. France is portrayed as a flirty man because in Japan France is known for being a “romantic country.” But that doesn’t mean that they think all French people are like that — it’s just a lighthearted joke. And now, Hetalia characters have grown to be more of their own character rather than simply a humanized country at its base. Despite being a personification, they’re like their own person, not just used to depict stereotypes. Just because a character has a certain personality trait doesn’t mean Hima believes that everyone from that country has the same trait. It’s not meant to be racist, and isn’t. 

What I Think Was/Is Problematic

As much as I love this show, there were DEFINITELY some problematic things that people tend to ignore.

1. Korea Controversy

As a Korean American, I have to say that I was quite disappointed when I learned about how Hima portrayed Korea in the manga. I won’t go that deep into this one since it’s not that relevant to what I'm talking about now, but it was definitely a HUGE problem and I’m glad that he was removed from the series.

2. Iron Cross on Germany

The iron cross that Germany wears in Hetalia (in every time period) is a military decoration that was used since the King of Prussia until the time period of Nazi Germany in WW2. Today, it’s considered a hate symbol, similar to and alongside the swastika. To be fair, it wasn’t just a decoration used purely for the Nazis, unlike several other examples of Nazi symbols and memorabilia, so I suppose it could be up to each person to judge whether it should pass or not, despite the surrounding circumstances — it isn’t up to me as part of the fanbase. But personally, I think it should have been removed/not used in the first place. I mean, it wasn’t that necessary, seeing all of the military uniforms drawn in Hetalia were simplified anyways. Perhaps it would be much less problematic if Hima didn’t draw the iron cross, and the same goes for the other presented issues.

3. Japanese Imperialism

The way Hima portrays Japanese Imperialism was pretty offensive in my opinion. An instance is the presentation of the Japanese invasion of Korea. It wasn’t just like how the colonies were under Great Britain’s rule. It limited much more of Koreans’ rights and was much more gruesome. I don’t know about anyone else and can’t speak for each individual, but as a Korean, portraying all of this as Japan merely patting Korea on the  head is fucked up. This ties to the controversy of Korea’s character. From what I’ve seen, Hetalia is pretty close to a rightist (in Japan, not the US) series. I won’t dive too deep into that, but rightist — or in Korean, 우익 — animes are animes that glorify their country’s past/country, or  use content to make fun of or criticize other nations. Actually, it’s probably much more complicated than that, but as of now I don’t know much about it. It mostly ties to the tension between Koreans and the Japanese, so if you’re not either, there’s not really much to worry about. But (maybe because I’m Korean) I found it weird that the manga seems to give every single character a bad/negative characteristic except Japan. I guess it’s only natural, since the creator is Japanese. But then again, France was basically drawn as a rapist/pedophile, but I have never seen a French person complain about it. Or maybe they just completely avoid Hetalia? If anyone knows about it, I would be glad to listen. Perhaps it’s just a bias that I have as a Korean. It could also be a cultural difference too, since we tend to be very patriotic.

4. The Title: Axis Powers

Although the main character is Italy, and the story revolved (emphasis on the past tense) around the 3 countries that were part of the Axis, Hima should have been more considerate with the title of the show, thinking about what the Axis Powers actually did during WW2. Just “Hetalia” would have been fine. But it also should be considered that when Hima started drawing the manga, he did not expect it to become a long-term thing or for it to blow up so much. Thankfully, only the first two seasons of the anime were titled as Hetalia: Axis Powers, and later seasons were titled more acceptable things, like World Stars (manga) or The Beautiful World.

5. Seychelles

Personally I don’t find a problem with there not being that many African/South American countries in the show. Africa’s country borders (and all of that related material) were very different from what they are today, and it would be really fucking hard for Hima to keep track of all of those while still writing good characters. And unlike Europe, Africa’s history was not transcribed much, and is a lot less-known. The problem with Seychelles was her skin color, which wasn’t accurate. But that’s since been fixed.

Is Hetalia Really Problematic?

My most straightforward answer for this question would be no, it is not problematic as of now. Something I realized while listing all of the aspects of Hetalia that I personally thought were wrong to put in was that most of them don’t exist anymore. Besides Germany’s iron cross, all of them were removed from the show. Korea was banned from the anime, and he no longer appears in any of the manga strips. The manga strays further and further away from topics like Japanese Imperialism or WW2. Most of the time in the manga, countries do not wear their military uniforms anymore, but stick to more casual clothes. The characters stray further away from stereotypes that Hima used to use as a comedic effect when he first started drawing. My point is: Hima learned his mistakes. Which only makes sense, considering all of the criticism he probably received when the series first started. I think that’s a good thing. Now back to what I was ranting about earlier. I don’t get why people are saying Hetalia shouldn’t come back! The new season is most likely going to be based off the most recent Hetalia manga series, which is Hetalia World Stars. If you’ve ACTUALLY READ THE MANGA AND DIDN’T JUDGE THE ENTIRETY OF HETALIA BASED ON ITS FIRST FEW SEASONS, you would know what World Stars is about. It’s about all sorts of things. My personal favorite strips are the ones about ancient Rome! It’s not just drawn to give readers a laugh but it actually teaches you some history. Other than Rome, the manga is also about the trends of clothes in certain countries/time periods, industrial revolutions, or just the interactions between the characters in general. I really don’t see how animating these would be harmful at all. The subjects don’t revolve around what a lot of opposers say/negatively connotate the series with. If you think bringing Hetalia back is a terrible thing to do because the fandom would return and start doing toxic/weird things, I really don’t know how to respond to that. The fandom already died out around the time the last season was released. Now newer fans will come around, and the former fans would return (hopefully) matured up. It's already been 5 years since the last Hetalia season aired, after all. And like I said earlier, toxic fans never represent the entire fandom. If you really hate the fandom that much, I recommend not getting involved at all.

[rollflasher]

Another Sonic ramble

So once again I’m here with one of my rambles about my incredibly subjective view of how the Sonic series should be handled! *Beat*

...anyway.

So, one of the more recurring opinions on the fandom is that Sonic games should be written by Ian Flynn, I have talked before about the gripes I have with his writing and why I disagree with this but this post is not entirely about him, but rather a more general topic that has been bugging me for a long time.

The other day I was watching a video speculating about the upcoming Sonic Rangers, there’s not much to write home since it was pretty well made but there’s a particular part that inspired me to do this post and talk about it with other fans to discuss it.

See, at one point the video critisized the fact that Sonic Forces was written by a Japanese writer because they have to re-write the script in English and that can cause problems with localization, and that it would be better to have western writers from the get-go since Sonic’s main demographic comes from there, while making an off-hand suggestion that Ian Flynn could be a main choice. While I can see where they’re coming from, my response was a simple:

‘‘Absolutely, not’‘

See, I have a lot of issues with this to put it bluntly and I’ll try to break them down and explain them the best I can since they’re pretty subjective in nature, but I’m bringing this up because I want you guys to share your thoughts as well.

So, why does it bug me so much the idea of Sonic being handled by western creators?

In my case, the main reasons are because Sonic loses a core part of it’s appeal because of this, the fact that SEGA of Japan seems to have a better grasp of the franchise’s tone and characters and there’s the very subjective point that, in my eyes, American versions of Japanese franchises were always nothing more than dumbed down products of the source material.

To start with my first point, whenever someone talks about Sonic’s creation, a lot of people are quick to point out that our favorite blue hedgehog and his games were inspired by western pop culture and cartoons, and that is true, however oftenly they forget to mention a core thing that not only inspired, but also formed part of the core identity of this franchise.

Sonic is very inspired on anime, and at heart this franchise is a shonen.

(This image by The Great Lange expresses more clearly what I mean)

Generally, the most acknowledgement anime gets on it’s hand on Sonic is the mentions of Sonic being inspired by Dragon Ball, particularly the Super Saiyan, but there’s so much more than that, as Sonic blatantly takes inspiration from Studio Ghibli films specially in games like Sonic 3, which draws a lot of inspiration from Laputa: Castle in the Sky, this great post shows proof that this is not a coincidence.

And it doesn’t stop there, Shiro Maekawa himself has stated that SA2′s story (and in particular, the characters of Shadow and Maria) draw a lot of inspiration from the manga Please Save My Earth.

Even Sonic’s character design resembles shonen protagonists moreso than the main characters of silent cartoons, don’t believe me?

Sure, Sonic has a cartoony anatomy, no one can deny that, but he also exhibits a lot of traits from shonen characters such as spiky hair/quills (?), dynamic posing, a confident, courageous and energetic personality and most importantly, fighting spirit.

If you compare Sonic’s personality and more specifically, his abilities and moves to, say, cartoon speedy characters like the Road Runner, there’s a pretty big disconnection between him and western cartoon characters. Hell, this disconnection is even just as present if you compare him with a character like The Flash from DC.

Simply put, Sonic acts, moves and more importantly, fights like a shonen anime character. He doesn’t just go Super Saiyan and that’s it. Here’s even a quick comparison if necessary.

And this is important because this doesn’t apply just to him, but the whole franchise as a whole and when it takes a more western approach, all of these details are kinda lost or more downplayed, of course this depends on the artists and there’s YMMV at hand, but I think my point is clear.

My second point is...SoJ has consistently proven they have a much clearer grasp on how Sonic’s world and characters are compared to SoA.

Hear me out, yes, Sonic 06 and ShtH exist and yes, SoJ is not perfect by any means. But hear me out...when did the characters start to get flanderized and turned into parodies of themselves? In the 2010s...and when did SEGA move from Japanese to western writers in the games?

Of course it was more then that since there’s a whole tone shift that came with this decade and the new writers, but it’s not a coincidence that when writing in Sonic started to decay, western writers also happened to get on board with the games.

Besides that, SoA has a wide history of not getting Sonic’s tone and characters, from how they made media without much of Sonic Team’s input, to altering how characters are seen in the west. (Such as how they amped up Sonic’s attitude in their media or how the English scripts of the games featured things like Sonic seemingly barely tolerating Amy while the JP scripts portrayed this as Sonic just not understanding girls all that well instead, or for more recent examples, the addition of the ‘’torture’’ line in Forces). Not only that, but even ignoring obvious infamous writers like Ken Penders, even the ‘’best’’ writers from the western side of Sonic are still not above of giving us Pontaff-esque gems.

Like this one.

Or alternatively, I feel like sometimes western writers on Sonic rely a bit too much on their personal vision about Sonic which may or may not be a good thing, clear examples of this are Ian Flynn himself and Pontaff.

By contrast, while SoJ has it’s own share of notorious inconsistencies when dealing with writing (The 2000s era is a big offender), it seems that for them Sonic hasn’t changed much and this is visible not only on the JP scripts of the Modern games which are for the most part better than the ENG ones, but also things like the Sonic Channel comics and the recent one-shots they made with Sonic interacting with the cast show that for all intents and purposes, the Japanese’s staff vision of Sonic is much more clear and consistent compared to the west. Because of this, I’d rather have a good Japanese writer on Sonic games with the localization being focused on being faithful with the original script than have a more western writers dramatically changing the characters. (I don’t mention the tone since either way, SEGA is the one in charge of that and the writers have to follow that)

My last and very subjective point is that, at least for me, everything SoA does with Sonic involving the writing and canon feels like a dumbed down version of the source material. One of the reasons it bugs me so much that in the latest decade Sonic has taken a more western direction is because a lot of what I pointed out gets lost as a result, even if some of those elements are still there, you can tell they’re more downplayed with products like the Tyson Hesse shorts having a more predominant cartoon direction. If any of you have been following my blog for a long time, you should be aware that just because I prefer the Japanese Sonic content doesn’t mean I won’t give the western products a chance, my enjoyment for Mania, the Tyson Hesse shorts and the movie should be a testament of that, but at the same time I can’t help but being sour about the fact that because of these products, we don’t have stuff like a new anime for Sonic or even a serialized ‘’main’’ manga as an alternative for the comics, and my hype for these products is generally more subdued as a result since I’d wish SEGA rather spent that money and resources on more Japanese content than just merchandise.

In particular, because Sonic is a Japanese franchise with a notorious inspiration from anime, what I get from this is a pretty big contradiction. I know Sonic is much more popular on the west but...is it really necessary for his game or products to be handled by western creators to keep their appeal?

For instance, imagine if Dragon Ball’s manga and anime got replaced by western comics and animated series because of it’s world-wide appeal, would that really be the same?

Or imagine the same thing with Fullmetal Alchemist, a pretty aclaimed anime that has a lot of western influence. Would it really not matter at all if it’s Japanese products were replaced with western ones?

At least for me, it wouldn’t.

And what I said about American versions of Japanese franchises being nothing more than watered down versions of the source material? I have that view because of countless examples.

Mega Man and how the English manuals removed a lot of important information about the story of the Blue Bomber’s game and world, causing a lot of plot holes in the process.

American remakes like Godzilla 1998 or Dragon Ball Evolution being an in-name only version of the source material.

Or the many censored anime English dubs from the 2000s, for instance, whenever I see the Yu-Gi-Oh! dubs, I only see a very dumbed down and childish version of a show that was originally a shonen.

And I know that all of these things don’t have to necessarely get lost since every creator is different and there’s franchises like Avatar which are made on the west but draw a lot of inspiration from anime and I’m aware of that, and I want to make it clear that I’m not trying to say that American writers are not allowed to work on Sonic, what I’m trying to say is that inevitably there’s always gonna be some culture dissonance and clash when writers from another culture handle a foreign franchise. And even with examples like ATLA, I think being made by one culture while being inspired by the other is actually a big part of these franchises appeal and it’s something that can’t simply be replicated by handing it to creators from that specific culture they draw inspiration from.

I think James Rolfe’s quote about the same thing with the Godzilla franchise sums up how I feel about this.

‘‘It’s like champagne, anybody can make their own and call it champagne, but unless it’s from Champagne France, it’s not real champagne’‘

So, this last part was very subjective, but I think this post in general sums up why I dislike so much the idea of Sonic having western writers specifically in the games or just focusing more on that side in general.

But what do you guys think? I guess I am too biased so that’s why I wanted to ask for opinions and discuss this topic.

[rebloged-content]

Recommended Sanders Sides creators

Marry Christmas, everyone! And a wonderful December day to all of you who don’t celebrate Christmas, too. Let’s be honest right off the bat, though: I’m only using the date as an excuse to do this list anyways.

So. Throughout the time I’ve spent as a part of this wonderful corner of the sanders sides fandom over here on tumblr, I’ve often found a new creator and wished I’d found them sooner. It kind of makes me wonder who else I might miss. If you do to, here are a few creators I’d love for you to check out. You’ll probably recognize some of the names, if not all, but maybe you’ll find a new favorite creator here?

And to the creators in question, I really love your content. If you’ve made it onto this list, you’ve definitely cause one or two sleepless nights of reading for me, because who needs sleep if I can have this, right? XD Whatever you’ll find written next to your name is the impression you’ve left on me and… Well, just know that you’ve made some days of my life at least a little happier, all of you. And I hope to repay the favor by telling you how much I appreciate you releasing your content into this world… Well, repay the favor at least a little, I suppose.

Let’s begin, then, shall we?

@5am-the-foxing-hour Because this? This is who you go to if you want to read good Janus-content. You are in a mood to read sympathetic Janus? Wanna see the danger noodle just casually interact with other sides? Go to their short stories. I mean, “the cult”? Prime example of how to tell a story with impact in just a few words. 8 paragraphs, but boy did I read that one on repeat. Or “water spray bottle”, this one is fun, short and will make you laugh. An energy drink for the fander heart, so to say.

Then there’s their mafia-au, “there’s more in me than precious metals”. Six are out so far, and I adore every single word of every single part of this. Protective Remus, sassy Janus, angst, comedy relief, destruction, Roman-Remus-sibling-rivalry, braincell Logan, survival instinct Virgil, working together over a common enemy… This fic has it all, believe me. Take your time and read it, because you will read the entire thing in one go once you start. At least I did, and I didn’t even notice.

And their advent writings? Those had me squealing and jumping around in a way I will deny if anyone ever sees it. I don’t even know what else to say, they are fucking fantastic and that’s that.

So, yeah. Go check them out, before I start fangirling about them even more. You know my personal favorites now, so just go there. You won’t regret it.

Next up is @coconut-cluster. Ah, yes, Lexi. Lexi, whose uni-AU started as self indulgent and has become the loceit story on tumblr. We all know her, or at least most of us do, and we all love her too. And while I also drop everything I do at any point of time I possibly can once I realize the uni-au has any form of new addition, there are a lot of other fics created by her that you should check out as well.

Did you, for example, ever want a sappy prinxiety one-shot with the sappiness only being implied, a mutual understanding of “we’re-not-saying-we-care-but-we-both-know-we-do” born from joking reassurances and a not-a-date-nope-only-a-break? While that may seem to be a tall order, that is exactly what “before the sun goes down” is. Plus there’s ice cream. Or maybe you’re more of a logince fan? Do you want a fic where Roman isn’t the prince but serves His Highness? Do you like sincere talks while you’re procrastinating showing your face to the subjects you don’t really want to rule over? In that case, you really should read “Viva la Vida”. Careful, though, this one is so sweet you’ll probably get a toothache… There also is an analogical fic that I’ve enjoyed very much: “Cracks in the Ceiling”. I love it, because it’s just calm. Fears creeping up on you, thrown away by a trusted friend with a few words, just by being there and playing into the metaphors you head created this time around. It’s calm, and there’s not really a climax or anything, but it doesn’t need one. Because it’s just a glance into everyday life. It’s beautiful in its own right, really.

What I’m saying is, Lexi has a lot more wonderful stories to tell than the uni-au. It’s the most popular one, sure, and it’s one of her best works. But you really should check out her other fics as well. Lexi herself once said that she writs fics she’d like to read. I would figure it’s because of this, but her stories are mostly things you don’t really find anywhere else. Dynamics, stories, world building, all of those are aspects you may find somewhere else. But Lexi is just one of those people who see what they miss in a fandom and create it themselves, and among these creators Lexi is my favorite. She just has that certain skill that makes that approach to writing result in the most enjoyable reading experiences. Lexi’s fics are special, because they’re different, because they are authentic and you can feel that when you’re reading her work.

@djpurple3 is another talented individual I want to talk about. I have to confess, DJ is, as far as original content goes, almost exclusively locked in my brain with the fiction “I just keep loosing my beat”. 23 Chapters so far, one better than the last. It’s a bitter-sweet story following Remus and his children, after the bitch of a mother has been brought behind bars. Abusive piece of shit. Yeah, I don’t like her much. But the story is so full of love and support, everyone trying their best, everyone seeing how much the others deserve the world and wishing they could give it to them… Roman and Remus have a sibling-dynamic I would die for here, too. Patton is just the most adorable friend to Deceit - here Damion - Virgil is a precious bean, Logan is cute and the teacher we all wish he’d had ourselves and… god, I could keep gushing about this fic forever. I’ll stop now, though, before I’ll start spoiler things. Wouldn’t want to do that, especially since I really, really, really want more people to give this a go. It’s not underrated, I just think everyone who doesn’t is missing out by a lot, so… Go over there and read DJ’s fic right fucking now, if you haven’t already read it at least once. Thank you.

@delimeful​, our wonderful lime-friend with a cute cat making a terrifying face in his header. First of all, there is the WIBAR universe, short for “Watch it burn and rust”. 5 chapters in act one, 4 intermissions (one of those with three chapters), one chapter of act two, as well as three extras and an au of this au called “the end of being alone”, and I’ve lost count of how many nights I spent reading those instead of sleeping like I should. (Or interacting with family. Or being productive. Or… It’s really a good story, okay?!) WIBAR is a deathworlder au. So a space au in which humans are regarded as dangerous deathworlders who can survive on a deathworld like earth. In other words, Virgil is the only human, and boy does that scare everyone around him. And the best part? You can feel the development, the shift in mentality regarding Virgil, feel the moment approach in which he isn’t a threat but a companion instead.

And, apart from the fic that inspired me enough to start writing “TINND!R?” over on my writing blog, there are a lot more amazing fics to read on lime’s blog. He wrote “How easy you are to need”, for example. It’s soft, it pulls at just the right heartstrings, it’s achingly hopeful and, god, the ending still has me in tears, even after the fifth - ? sixth? something among those lines - reread. This one’s a werewolf au, actually. Virgil is the werewolf, Logan, Patton and Roman are the humans.

Do you want yourself some of that pre-AA dynamic? I’d recommend “to taste your beating heart”. In this, Virgil gets separated from the rest of his group of vampire hunters and gets turned into a vampire himself, loosing his memories. And he’s “Anx” now, not “Virgil”, goddamnit! He isn’t their friend anymore, why don’t they understand that? Well, probably because they can still see Virgil’s old habits shining through. There’s a lot of tension, a lot of angst and a whole lot of frustration involved in this.

He also wrote some amazing one-shots. They’re mostly so well written that I’m almost sad not to be waiting on a continuation. There’s “the littlest mermaid”, in which Virgil goes to investigate a noise, finding a scared, tiny mermaid in need of help. In “community gardens” we have Remus being Remus, gaining the interest and friendship of the forest’s giant Logan. “Magical mutualism” tells the tale of a witch and a demon making a pact beneficial to both parties and opening the doors neither could have gone beyond alone. The way we’re all confused about our ships not actually having set sail yet comes to a hight in Virgil in regards to his friends in “amateur matchmakers”. And this is the point at witch I stop talking before I actually recommend every single one of lime’s fics instead of just my favorites as I had planed because I started to gush too much… XD

Let’s move on to @muppenthings​. Mupp is an amazing artist and she created a giant mermaid au. There’s this one orca who’s just… We love her, but I actually don’t think she’s the brightest. I really, really love her, though. Virgil himself is being a little protective over his human friends and casually so. I love this comic series for the art style, but I also love the way it makes me crack a laugh at least once per work. Or appeal to my mother-instincts, if it’s about baby Virgil. Too cute for his own good, I tell ya! And the facial expressions! The detail, the jokes, everything about this is wonderful. You should at least take a look.

@whenisitenoughtrees​. Cat got me with “This cup of yours tastes holy (This lie is dead)”. “A slow voice on a wave of phase” was next, later “Infinity and beyond”, “we are not alone in the dark with out demons” and “changing of the guard”. And then, suddenly, the night was over. I’ve read almost all of the fics in one go, and I’ve been semi-frequently visiting her master post ever since. When “There’s an endless road to rediscover” came out just a little while back, that lead to me re-reading through almost the entire list. I don’t regret it, my plans for that weekend would like to disagree.

These six fics I mentioned here are, by no means, the only ones I enjoyed. Those are just the ones I’ve found myself opening up again and again in sleepless nights. Those are the ones that pop up in my head and have me smiling to myself in the middle of god-knows-whatever-I’ve-been-doing-at-the-time.

Angst, fluff, hurt-comfort, you’ll find everything in that list. And something I’ve grown to like about Cat’s fics even more than anything else is the quick change between feeling perplexed, a startled laugh at certain wordings (you’ll know what I’m talking about when you see it) and apprehension. These fics will have you at the edge of you seat, swooping you away on an emotional roller coaster. And, god, the way Cat writes from Remus’ perspective? The introductions of her stories and the way she redirects to the main topic after going into detail on something? I saved a few paragraphs as screenshots on my phone because I love them and I want to read them again when I’m down. I just… Cat’s great.

Next up is @eliemo. Because Elias Virgil is the royalty of Virgil angst. From the touch-starved Virgil we’ve all had a head cannon of at one point in “Heart of Ice”, over ace Virgil panicking over telling his boyfriends that he his ace and didn’t think to tell them before in “Love our way” to so, so much more.

Mostly EV follows the story arc of an underlying feeling of dread at the beginning, which slowly grows into panic, exploding in a storm of angst and concludes in everyone, or at least whoever is around, coming to the rescue and helping to calm down, with the end being the hope for getting better in the future. They always manage to convey the confusion, fear or just the general thought process so well that you can’t help but get absorbed in the story. They know exactly what to say and what to leave between the lines to get the maximum effect. And, your heart will definitely be shattered after their angst. Still, the way the sides comfort each other and support each other so well every time is just… I love their stories, a lot.

I want to make two more suggestions if you want to check out this creator. A Janus angst fic, which can only be described as “ouch” you’ll find under the name “snake bite”. It hurts in the best way possible, because Janus gets the comfort he deserves.

The other suggestion gets a lot darker. It’s about Virgil having been abused by the “others” before he got accepted into the light side. The others are shocked to find out what has gone on behind their backs and they help Virgil in every way they can to recover. Of cause it’s a rocky path, though. This would be “Learned Behavior”. The series/au has twelve stories so far, one of which has two parts. You’ll find the master post for this pinned to the top on their blog.

If you like angst, you should also give @maybedefinitely404​ a look. Ly has a soulmate-au going, in which they use the concept of “you hear the music your soulmate listens to”. "Music in my head” is a prinxiety fic, but the two of them have yet to meet. Four chapters and two mini-fics in. The reason I mentioned angst is because in this - spoiler alert for the first few chapters here - , Virgil gets put through conversion therapy. Luckily Janus and Logan are better foster parents than the ones who did that to him.

They also have a master list for all their soulmate stories, featuring different ships. Apparently they participated in soulmate month, if I understood that correctly. And to be honest, that was how I even found their account. I absolutely adore their anxceit fic, which takes place in a human au. It’s starting off pretty sad, but the bonding moments are absolutely wonderful. It’s a lovely story, and the ending is one of the best ones I’ve yet to read. Their logince fic took my breath away, too. A flower shop/tattoo artist au, and Logan is the tattoo artist. Stunning writing, wonderful world building, just the right amount of backstory to have everything make sense without overwhelming/drowning the reader in unnecessary details. Their moxceit fiction… Well, this one had me in tears within the first few paragraphs. It’s terrible and you feel for Janus, whose perspective this is written from. The ending, though… Gods! The ending was so indescribably cute. To be honest, all of the soulmate stories are great, these three are just my personal favorites.

Concerning their one shots, you’ll probably have to figure it out on your own concerning this. I haven’t been able to read all of them yet, as sad as that makes me. Definitely palling on doing it in the future, though. I did read two of them, though. “Pippity poppity” really was amusing, and I am so looking forward to the second part of “The Boy who sings next door”. The way they write the dynamics between the sides? I live for that.

Another creator I would like to recommend is @maybe-im-tired.They don’t have a master post, as far as I could see, but they only post their content anyways, so… “Can’t take my eyes off of you” is my favorite out of their fics so far. I mean, the way they managed to fit the sheer chaos that is intrulogical into this one short fic is amazing. And you could take about two thirds of what Remus said and put it up on your wall as out-of-contexts-quotes. Don’t worry, he says them out of context anyways, and they will definitely make you laugh. 

The series of short stories for the human au that starts with “Glowing stars” is another au by them that you will almost certainly like. We have Logan and Virgil as kids (about 7 I think), Remus and Patton as single parents, Roman as the most adoring uncle, Emile as babysitter and Remy as his amazing partner. Remus is a great father, wonderfully chaotic as well. And a teacher! Imagine that, Remus as your teacher... He’s great with kids though, as long as they aren’t entitled villains come to make his precious Virgil feel bad, that is.

They also wrote a bunch of “random one shots”. They are all amazing, but my favorite has to be this one. It’s a logince one, once again human au. Patton may or may not tell his big brother’s crush about the feelings he wasn’t prepared to share yet. You know, as small kids do. It’s soft, it will make you smile as much as Logan does, and I love Remus in it. I generally like how they write Remus, okay? I know how much I’ve said it, but I’m not even exaggerating. They always write him differently, and all versions they write him as are so, so lovable and just… I wanna hug the life out of all Remus versions they wrote, okay? Take a look, you’ll know why.

Anyways. Let’s continue with @figurative-siren-song. This is the last account I’ve followed and I’m still sad about it having taken me this long to find them. Little salty, to be honest. (I’ll stick to they/them because they said just not to use she/her, and, well… consistency, you know? Don’t have much, so I have to get what I can XD). When I finally did find them, I went through their entire master list (at least all of the ships with characters I actually know. I’m kinda bad with the shorts characters, so I usually just… avoid them? Idk. Personal preference, I guess), and, well… I would honestly recommend every single fic on that list. They call themself “Repair Fluff King™️” and they deserve that title. But when they warn you that a fic will be angsty, it will be angsty.

I found them through the anxceit fic “A Deal”. Well, through an animatic by their friend on youtube that had linked the fic, but details. I’ve been reading this fic up and down again and again. It’s just so good! And when they talk in the second part and Janus explains why he proposed that deal. Or in the continuation, which i can’t talk about because I will probably spoiler things! So wholesome!

 Also, their losleepxeity fic “We’re worth it”. So soft! The nicknames, the plot, the everything. It’s softer than clouds look, and we all know that means something.

But, really. Everyone will find something for them by this creator. So many ships, all incredibly well written, and soft and fluffy without getting boring in the slightest. It’s as energizing as coffee, actually. And, let’s be honest, this whole fandom drowns itself in angst most of the time. Take a break from that, repair your broken hearts with goof fluffy content that you’ll want to read over and over again. Go check this creator out. You will love them. 

Last but not least… @myfriendsasthesides​ A blog by a creator who just takes the wonderfully chaotic dynamics of a friend group and using that to give us content of incorrect sides quotes. Maybe it doesn’t fit with me going on and on about fics here. I don’t care. Follow them and turn on those notifications, please, because seeing even one post of theirs on your dashboard will make your day. It’s funny, it’s absurd, it’s chaotic, it’s making you jealous of them for having friends like that. Believe me, you will want to see those posts. It’s just… the random shots of serotonin and dopamine out generation needs really fucking desperately 100% of the time. 

That’s it with the list! Eleven creators I absolutely adore, and I’m sorry I was babbling so much all the way through, but… Well, actually I’m not sorry. And actually, half of the reason I even made this post is to tell them how much I love them and fangirl about them a bit. So… Yeah. Well.I love you guys and hope you’ll have a wonderful day! And to everyone else reading this: I hope this helped you ind some new creators you can enjoy. And a good day to you too, of cause.

Sincerely, Joy 🖤

(@joylessnightsky/@sanders-sides-fic)

[emotionalcello-makefanfics]

Chapters: 2/? Fandom: Red Hood and the Outlaws (Comics), Red Robin (Comics), Batman - All Media Types Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Relationships: Tim Drake/Jason Todd Characters: Tim Drake, Jason Todd, Tamara Fox, Some OC for cuteness Additional Tags: Angst, Fluff and Angst, Sickfic, Tim Drake is Not Robin, Tim Drake is Not Red Robin, Jason Todd is Red Hood, Tim Drake Needs a Hug, Jason Todd Needs A Hug, Crying, so much crying, Love Confessions, Cheesy, God it's so cheesy, Cringe, So sweet so cheesy so angsty that you'll cringe, Tim Drake-centric, some Jason POV tho, A wild X-men appereance, I know they're not the same universe but I'm running out of character and running out of creativity, So yeah X-men characters and vaugly their mansion/orphanage too, Bruce Wayne Bashing, Some things that I don't put down bcs it'll be a spoiler, Smoking, Implied/Referenced Sex, POV from a cat????, The Clichést Cliché that ever Cliché, Cliche Summary:

They meet again on a rooftop after ten years. They're different now, and things are not the same. It's all too late. Chapter 1 sneakpeek

“Don’t jump.”

Sighing exasperatedly, Tim puts down his cigarette-clutching fingers and drags his eyes to the source of the voice. His gelled-back hair loses its hold and a strand of ear-length bangs falls to his vision.

Sadly, without seeing him and just from the voice, Tim knows exactly who this person is. One of the Bat franchise, and it just had to be the Red Hood variation, fucking great. Out of all time, it has to be tonight. The world is playing a joke on him.

Tim is sitting hunched on the rooftop’s edge, wishing he’d have some peace and quiet for once, and of course one of these pestering bats just has to bug him at the worst time. Yet, it’s actually pretty rare for Red Hood to patrol Gotham lately, and Tim curses up a storm in his mind. Out of all the days, it just has to be fucking tonight.

No, Tim is not having it.

“This man has too much to do tomorrow to jump.” Tim looks away, getting a light from his suit.

One hand lighting another one of his death stick, and the other unbuttoning his suit and loosens his tie. After a puff and two, Tim drags in and keeps the smoke in, letting his nerves uncoil. Seems like it doesn’t work that well when the big bad shadow of a vigilante doesn’t move from the corner of his eyes.

“I’m not jumping, go away, I can’t deal with you tonight,” Tim says as he sighs the smoke away to the red polluted sky, thinking the man must be deaf or just not convinced. Maybe the latter, the bats are famous for their tact after all. People say they’re purely human. Seeing Red hood’s physique, maybe this one becomes meta-human at some point.

Tim looks the other way so the vigilante is completely out of his vision, to make a point that he’s not having this conversation. He looks to the city, engulfed by the red sky. It’s bright since this building is at the heart of the city, where the higher caste of Gothamites live and prosper. You can see the border around the bright side of the city where the lights stop dead and darkness begins. The poor side of the city. The gap is ghastly, it’s what makes Gotham what it is.

Tim is not surprised but highly disappointed when he hears shuffling instead, and when he looks at where the tall brick wall of a man, he already sits down next to him. Red Hood keeps a respectable distance though, at least he has that much of a tact.

Red Hood hooks his fingers inside his helmet, does some finger shimmy, and the red shiny mask helmet is off. His face is still covered by a domino mask, his hair looks damp, and his gloved hands rake his jet black hair back. Curls bounce to his forehead, sighing a fog, the only indication that the weather is reaching the end of the year. In turn, Tim felt his cleanly shaved nape chilled.

From inside the leather jacket, the vigilante digs to look for something, and that’s when Tim realized he’s been looking at the cuts on Red Hood’s exposed forearms from the folded sleeves. Very thick and muscled forearms. This guy either lifts all day or a meta-human, not that Tim cares anymore.

“Got a light?” Red says, plush lips smirking.

Tim sighs, guess he has company today. He digs into his suit and throws him his lighter. The masked man inspects it and Tim rolls his eyes. The lighter is a metal one that you flip, and on it engraved ‘From my heart with love, that this one lasts longer, Tam.’

“A sweetheart of yours?” Says the man, the second sentence he speaks, and Tim doesn’t recognize the voice. Deep, gravely, the typical voice of someone that smokes.

Red Hood extends his hand to give back the lighter to Tim instead of throwing it, must’ve thought it’s special.

“Kind of,” Tim says, receiving the lighter.

Red Hood drags in, keeps the smoke in, “Why kind of?” and sighs.

“Never established the relationship.”

“Commitment issues?”

Tim quirks an eyebrow at the man, sitting just as hunched as him. There’s a pillar beside Tim, and he lays his back there, thinking whether or not he should engage in this conversation. Eh, why not right? It’s not like it’s confidential information, and Tim is just so tired of caring about social politics.

“I was too late,” Tim says. It’s not as painful to say now, but lately, Tim has been numb. He’s been numb for years. Tim’s gay, or so he thought. When he began to really love her, she’s gone from him.

“Girl got another guy?” Red Hood teases.

“Girl got dead,” Tim deadpans. The smile dropped from the vigilante’s mouth, and if only he can see his eyes, panic would look funny on the all-powerful Bat. But, no, Tim can see his tell by the tapping hands.

“Ah fuck, sorry.”

Tim chuckles at the spectacle of an awkward vigilante. Maybe this night won’t be so bad after all.

“Relax, I’m not too sad about it now, it was years ago.”

It’s hard to predict Red’s expression with that domino mask that takes his cheekbones and half his forehead, but Tim’s pretty sure the twist on that mouth means his opinion of Tim isn’t good. Well, not that Tim cares.

“How did she die?”

“Wrong place, wrong time,” Tim put the filter on his lips and drags in as deep as he can. Too deep, and Tim coughs hard, once and twice that his vision blurs. Her face comes to vision, the morbidity of her expression tips Tim’s nerves off balance. Tim quickly takes another deep drag, “She was in the Joker’s way.”

At the name, Red Hood snaps his face at Tim. Slowly, languidly, Tim looks back. The vigilante clenched jaw and balled fists look like he’s about to kill somebody. Tim knows that a few years ago Red Hood kidnapped Joker, didn’t kill him, and just vanished before popping up again to have a vendetta against Batman. What a load of drama those bunch.

This also means that Tim knows exactly who this person is. Suddenly the voice registers, the familiar jaw, the soft fucking tone.

He blames it on the nicotine that his heart is calmer than he’d like, his mind still not on overdrive, still plagued with Tam’s face as she died in front of him. He’d breathe smoke instead of oxygen if he could. God he wished he’d breathe smoke from now on. Why does it have to be today? One grace from the universe is that Tim -for some reason- feels amused instead of dread.

“You look like you’re about to kill somebody, Red,” Tim says, can’t help the ease and sass in his voice. Tim lays back hunched, crosses his legs. “I thought you let go of your vendetta against the Joker.”

“Where do you hear that bullshit?” Redhood snaps and Tim can’t help but let go another chuckle.

“People talk, words get around,” Tim says.

“Then they’re far off the truth,” Red hisses before dragging in his cig.

“Yet the Joker still roams.”

“Ain’t my call.”

“Is it the big bat daddy calls?”

Red Hood splutters at the name and Tim smirks evilly at the reaction. “Ew, don’t call him that!”

“I can call that higher-than-thou furry hero wannabe anything I want,” Tim spits bitterly, looking out to the city. Sometimes when he’s really lucky, he’ll catch one of the bats twirling in the sky, and now one of ‘em is sitting beside him, but sadly it’s not the most shocking knowledge he has today. “One of these days it’s going to be my turn.”

“What?”

“Dying in the collision of mad men’s evil master plan you refuse to get rid of.”

“Ck, I don’t like what you’re insinuating.”

“Sorry then, I don’t mean to insinuate anything. This is me telling you loud and clear that you’re all cowards for not killing these maniacs that kill us like ants when you have the power to stop them.” Tim’s voice is even and chill, it did not raise a tone, but it reduces the bulk of a man beside him to still. “Some of us rooted for you when you caught the Joker, and your reputation gives us high hopes that it’ll be the last of him. Then he showed up again.” Tim feels the lighter in his pocket burn, “Then Tam died.”

Tim pumps his lung full of smokes, keeping it in there so that the clawing gloom will die before it takes roots.

“I almost did kill him, Batman stopped me,” the gravel voice says lowly.

Tim feels himself stiffens, now that’s something he doesn’t know. His eyes scan the hunched vigilante, trying to find any sign of a lie, there’s none.

“Shit,” Tim curses, sighing up smoke and quickly takes a deep drag in. “Fuck Batman.”

For the first time, Tim hears Red chuckle, “Yeah, fuck him.”

“Still your family though, right?” Tim says, earning what he thinks is a glare, who would fucking know with that mask. “Why else would you stay in his line?”

Red Hood looks away, not answering.

“Guess I understand. Proving something to someone.”

Red scoffs, “Would you?”

“You know who I am.”

“Yeah, not your story.”

Tim scoffs at the obvious lie, “Look it up. I have better things to do than telling you my backstory that’s a google search away.”

Tim Drake. Son of the CEOs of Drake Industries. Running smoothly since ever he becomes the COO. Yada yada, young and successful, yada yada, has the reputation to chew out the reporters and a resting bitch face, all that shit. Tim doesn’t have the best bedside manners, but when it comes to business, Tim gets things done, and his business partners know to swallow their pride for a potential too stupid to missed just because Tim has fangs.

“I dunno, you’re pretty mysterious in the eye of the media,” Red says.

“Because they’re nosy pricks and not worth my time when they’re asking me about rumors of my flings.”

“They’re not true?”

“What the fuck are you? Does TMZ sent you?”

“Good point, never mind.”

They let the quiet settle in, and Tim isn’t too bothered by the company so much. The red amber eats to his filter. Tim puts out the light and puts the bud back inside the pack while he gets another one. He looks down at his light, which reminded him of Tam. Damn, she was such a good assistant, she’s also his best friend but a damn better assistant. Tim doesn’t let himself think about it.

He lights another, and puffs.

“Shouldn’t you be patroling?” Tim says before he can stop himself.

“Nah, not here to patrol, just some errands.”

“Don’t mind me. I’m not jumping.”

“No, I know that,” Red says, tone softer that Tim narrows his eyes at him.

“Lonely?” Tim teases, putting the filter in his lips while locking eyes to the pair of white lenses.

Red shrugs, “Just wanna kill time with someone that doesn’t wear one of these,” he says, tapping to his domino mask.

Tim hums imagining himself with his family, “Yeah, me too, I’d take a vigilante franchise over family dinner anytime.”

“Aww,” Red surprisingly coos, making Tim flustered.

“Don’t get it twisted, my family sets a pretty low bar for good company.”

“I can say the same, Timmy.”

Tim flinches, “I didn’t say you can call me Timmy.”

“What about friends then?” Red follows up, ignoring him.

“Joker killed my only best friend. Oh god, stop making that face, everyone I know got someone they know killed by the Joker, or Bane, or.... shit just those freaks.”

“Doesn’t make me feel better.”

“I don’t care what you feel.”

“I’m wounded,” Red says in that joking ‘boo-hoo’ voice but it was the last thing to snap Tim’s patience completely. He hates this casual conversation as if nothing happened.

“I’m not jumping, and I know you’re not here just to talk to some random civilian. You know who I am, so say what you wanna say and go,” Tim inhales deeply after the low-toned rant, only to be met with another silence.

They stay quiet for a few whiles again. Smoking the tension away. After Tim’s cig burns halfway, his nerves calmed down. Then he realizes that Red is looking at him. Staring.

“What?” Tim says, sighing smoke.

“Would you kill Joker if you could?”

“In a heartbeat.”

“Killing someone isn’t as easy as it sounds, especially if you did it before.”

“You underestimate my anger then.”

Red Hood goes still for what Tim is insinuating. His phone vibrates in his pocket. Tim gets it and his new assistant reminds him of a flight in an hour and he needs to be ready in half. Tim puts out his cig and pockets it.

As he stands up, he looks down at Red Hood, really looks at him. It reminded Tim of the time has passed. It’s been so long.

“Nothing to say?” Tim asks, he has an underlying tone of ‘last chance.’

“Thanks for the light.”

Tim clenches his jaw and breaths slowly. What did he expect? “You caught me at a bad time but it’s good to meet you again, Jason.”

When Tim walks away, his elbow is grabbed and he’s spun to face Jason in all his bulk. Looming over him with his height.

“You know who I am?” Red says with a threat in his voice that makes Tim wants to laugh.

“Are you really that surprised? Or did you forget me when you fucking died?” Tim smiles bitterly.

Moments passed, eyes on each other, chest to chest. The last time he sees Jason, Tim was staring at these white lenses too, and Jason was still as tall as him. At this close, Tim sees tiny tears that heal pale than the rest of his tan skin, bulked up body looming over him that used to be similar to his. For anyone, Tim had two best friends, Robin and Jason Wayne-Todd, he had known the two are the same. Seems like Jason doesn’t.

Doesn’t matter now. Everything said and done. Too late.

“Say your goodbyes now,” Tim says, because why else would his childhood friend pops back again after a decade of not saying anything after he returned to life. Tim doesn’t realize it’ll hurt this bad though. Missing Tam doesn’t hurt this bad.

Perhaps it was because the scar never healed right, but he still thinks of Jason like a big chunk of him that’s been torn away forcefully, even now.

“I’m sorry,” Jason finally says, low and guilty, as he should be, but it irks Tim to no end.

“I lost you, and when you’re back you didn’t tell me,” Tim says, his voice cracks and he curses it to hell. Red Hood’s been around for years, and Jason never came to Tim to say he’s alive.  “If you have nothing else to say, let go of me.”

“I didn’t know that you knew.”

“What?”

“I didn’t know you know I was Robin... Did you know... everyone?”

Tim rolls his eyes, “Yes.” Gloved hands still on his elbow, and white lenses not letting him go. The non-challant face he wears slips off as if oil just slicked between the mask and his skin. His heart picks up a beat. There are layers between their skin, Jason’s thick gloves and Tim’s three-piece suit, but it feels warmer. Burning.

“Damn,” Jason curses under his breath.

It’s just a little thing, but Jason’s silence following that is a nother prick to Tim’s skin.

“Is that all?” Tim dismissed, pulling his arm away, but Jason only holds tighter.

“I didn’t know, okay?” Jason pushes, “And you’re a civilian, you’re not supposed to know Jason Todd is back to the land of the living.”

“A civilian,” Tim mutters under his breath. That’s all he is to Jason? All this time. His chest hurts, Tim knows this is because of Jason’s words instead of anything else. “Get away from me.”

“I’ll see you again,” Jason says before letting go.

Before Tim can say don’t bother, the man puts on his red helmet and grapples away. For a moment Tim can see the shadow of red yellow green flying away.