#It has shaped me in so many ways as a person and as a storyteller

[sparklepool101]

Been watching since day one, but I was literally six so I didn't join the fandom until like, five years ago I think.

for clarity on the last two. if you saw fanart or discussion about tbob and were like "hey i should watch that show" pick option 3. if you werent really paying attention and just happened to pick up gf in the last month or so pick option 4

please reblog!! i know a ton of gf fans follow me but im curious about this

[bakugoushotwife]

in my opinion, gojo’s storyline has been handled so so poorly i can’t help but think it’s intentional. it is not bad writing to kill a character—even a beloved character. i know most people will dismiss my criticisms because gojo is so beloved to me and so many others. i’ve said before that i don’t mind if he died. does it hurt? of course, and i would still cry and be sad about it. but there is a beautiful way to do it. with respect and honor for his legacy—for what he has done for your manga, the characters in it, and audiences worldwide. but no…gege chose the path of horror and disrespect. at certain points i’d say to myself, well. this is a dark manga. but essentially gojo is the only character that receives this treatment. since the beginning—since suguru left him, he’s been wondering if he mattered because he was a person, or if he only mattered because he was powerful and useable. we certainly fucking answered that question. he is a weapon and nobody ever cared about him at all!!!

and we knew he was being used—he knew he was being used, but he is selfless. so he did it for his kids. for megumi and yuuji and yuuta—he wanted them to be safe. in these flashbacks it’s exceedingly clear that he knew he would die. again—that’s not my issue. gojo dying to sukuna makes plenty of sense and it would hurt to leave it there. but to give us an afterlife scene where he’s presented a choice—north and south—that concept lead nowhere, that’s truly fucked up. to leave all the subtle clues and hints for no reason but to keep people reading and theorizing his return is fucked up. to continue to use his imagery to promote your manga when you know he’s not even honored in your manga is fucked up. we don’t get a funeral or a grave for him. no one’s spoken about him in chapters despite him fighting for hours against sukuna and damaging him so much that yuuji could win, nothing. yuuta wearing him like a costume and no one is horrified about it. i thought his students WERE different. they weren’t jujutsu society yet. that’s why gojo was their teacher—shaping them into better human beings. how am i supposed to trust in their future when it seems they’re just as cold and heartless as everyone before them? no one has honored gojo in any way since the moment he died. and they’ve forgotten about him. he spent his entire life fighting and no one can even say thank you. gege intentionally used gojo to promote the end of his manga because he knows that gojo fans make up at least half of his fanbase so had we stopped reading when he died, he would have lost a lot of traction. he baited us intentionally, cruelly, and something that transcends storytelling. i’ve truly never seen a mangaka have this sort of vitriol for one of their characters and the people that love him.

we spent the entire last chapter talking about some random fucking mission when we have several unanswered questions and concerns. i thought gege said he wanted this ending to be shocking and something you didn’t see in shonen? tying everything up neatly where no one has any trauma or grief for what they’ve experienced, everyone comes back to life except the one character you hate specifically and choso, defying your own power structures and having everyone laughing into the sunset is exactly how shonen ends so what in the fuck is he talking about??

let me disclaim, this is not megumi hate at all. i love him very much and i am so happy he’s back with the group but like. he shouldn’t be able to even walk. he tanked unlimited void for over 6 minutes whenever that length caused irreversible damage to sukuna himself. not to mention the countless black flashes. so what the fuck? he doesn’t mention gojo at all?? the first time he laughs in this manga is after he reads a note written by his dead fucking caretaker about his dead fucking father? like i don’t believe. random open ended kenjaku/suguru mention just to piss me off, an absolutely no mention of gojos sacrifice or how they’ll miss him. i’m sick to my stomach. gege defiled his memory both in the story and outside of it. wow.

P.S. SUKUNA CARED MORE ABOUT GOJO THAN ANYONE ELSE (SUGURU IS NOT INCLUDED IN THIS I MEAN HIS STUDENTS AND SOCIETY)

[batbabydamian]

The Boy Wonder #3 by Juni Ba rambling about how cool this series would be to read in a single sitting...it's all so connected!!

rambles for issue #1 and issue #2!

i don't have as much personal interpretation for this cover besides it being a solid piece of art in shapes and silhouette! ALSO. bi bg lighting lol. Damian's "X" posing of his cape and swords parallels with Tim's "X" chest straps + the Robin emblem in the center. Tim's closed Red Robin wings frames Robin's own outstretched cape wings; and on top of that, the shadows cast inside the wings nicely frames Damian's demon mask.

Joe and Merle's dynamic has been so fun, especially with the mutual enthusiasm over the storytelling 🥺 Joe also opens up about his circumstances that led him to this moment, which perfectly sets up the setting of this issue! Even his very first introduction becomes a relevant detail when a fancy rich couple drops a champagne glass, uncaring of the people literally below them, saying “some poor sap down there’ll appreciate it” when it bonks Joe’s head.

it all comes around!! and tbh this issue proves how much this series would slap to read in a single sitting (GET THE COLLECTED EDITION)

Going beyond first impressions seems to apply to the color palette in this series. From #1 in the first page of Gotham, we see the gold of upper society to the blue of the downtrodden → from issues #2 and #3, it’s the warm gold of inner Gotham to the cold blue of the rich. there’s a sense of community displayed among the poor - even part of Jason’s intro avenging Bill, a generous man mourned on panel by many. The rich gives off a sense of individualism, celebrating themselves and their excess.

With the change in scenery, this issue steps into the more civilian side of things through a spy theme - fancy suits and lil gadget intros! Going down the civilian route with Tim feels very fitting since it's what makes Tim's run as Robin so charming!

i love that Talia’s taught Damian to be conscious of the rich’s effects on society, especially in the following page of small panels zoning in on the details of wealth and overindulgence. but also LIL DAMIAN. HIS LIL ROUND EYES AND HANDS 🥺

Damian’s aware of the facts, and his disgust is clearer after having just been through lower Gotham and seeing firsthand the poverty directly caused by the wealthy (also not sure if that old lady is the same one from #1 with similar hair and clothes, but pls she can't a break…)

i mentioned Damian’s “inciting incident” for this journey to be the intro of a demon for Damian to prove his worth but i’m correcting the use of that term!! the intro of the demon is more the beginning of plot, whereas the actual inciting incident is beheading the thief!! it’s the main reason he’s in this situation where he felt the need to prove himself, and atone. Most notably is that the beheaded thief is a consistent character that quite literally haunts Damian every step of the way.

The statue of Batman’s head being popped off becomes a significant visual, because while Damian started this journey to prove something to Bruce, the only one that really seems to have (quite literal) eyes for Damian’s journey is the thief. Why does he make more of an appearance than the actual Bat? Even his statue’s head doesn’t make a figurative presence; whereas the only one looming over Damian is the thief. Guilt over killing him may be driving him just as much as his desire to be worthy. Alternatively, it could be that Damian needs to reexamine his motivations since the thief is really getting in Damian's face now.

Damian is proud to be a positive influence on Tim, but the moment is short-lived. It’s an ironic moment to me because Damian doesn't even know the impact he's had on Jason just in the previous issue!! 😭

Damian's so desperate to prove his worth, yet he's been making choices in every issue to help others!! Helping the old woman up in #1, being vulnerable with Jason in #2, and now sacrificing himself for Tim!

The Ra’s "Weakness" panel has been reoccurring since #1, but it's the first time Talia has been included. Being great figures in his life and mind, their silhouettes consume Damian's, similar to a few of Batman's appearances below. This latest disappointment was such a blow to Damian, that Talia (who he might have the most respect for) becomes an added voice in his head.

Final thoughts!!

Like Rok, does the thief actually have a connection to the al Ghuls or is this beard just in fashion at the moment.

Lex is clearly referencing one of the Underwell warehouses that Joe and Merle are presently, so wondering if whatever he and Tim discuss here will be affecting them later.

Ending with Talia’s cover for extra hype!! i’ll probably go back to this for the next ramble, but i’m already gearing myself up to wail about Talia just based on this cover. The Mary and Jesus imagery (more prominent with Damian’s lil crown as a “prince”) but most importantly Talia weathering the flames for Damian…her own shroud/shawl wrapped around Damian and burning… oh boy

[podiumackles]

the moments that stay (they turn out all wrong)

In which the man she could never forget suddenly turns up at her cell, but he has no remembrance of the woman in front of him. And the moments that stayed with her for decades, turn out to be her memories only.

series masterlist

CHAPTER 2

A/N: English isn't my first language!! apologies in advance.

Outlines: After being his sidekick in Payback for years, you-better known as your supename Fury-ended up on the same end of Soldier Boy's violence as every other person. What you didn't realise, however, was that your old team had set you both up for betrayal, right when you thought you were helping them in getting him. After decades of being stuck in Vought's testing lab, you heard Soldier Boy got out. But the man who appeared in front of your cell wasn't the man you knew.

Warnings: not much in this chapter. mentions of power imbalance, possibly swearing, Soldier Boy's incorrect view of what a man needs to be, mentions of (mental) abuse and manipulation, and possibly wrong storytelling in lines of the canon events. I'm not that good at remembering, guys. and the boys was just kinda complicated. forgive me.

1980s

Soldier Boy had noble intentions to protect and serve his country. He had dignity, honour, and believed every man should grow up to be a “real man”, as his father had repeatedly told him.

Enduring the Second World War wasn’t enough.

Becoming a superhero wasn’t enough.

It would never be enough. Not for his father.

His father’s words echoed in his mind, a constant reminder that no matter what he achieved, it was never sufficient.

A real man builds his own success, with his own two hands. He doesn't cheat his way into power.

Those words shaped him, pushing him to become something greater than just a soldier, more than just a hero in the public eye. But no matter how many enemies he thought he vanquished or how many medals adorned his chest, he couldn't escape the feeling that he was failing his father’s impossible standard of manhood.

But the 1980s were a far cry from the battlefields of his youth. Superheroes were no longer symbols of patriotism and sacrifice—they were products, controlled by Vought, manipulated into glossy icons for public consumption. Soldier Boy's clean-cut, all-American image had become a brand, slapped onto cereal boxes and comic books. In private, however, he was chafing under the weight of being Vought’s golden boy. He was a symbol, a puppet, but to his father, he was still just a disappointment.

The breaking point came when Vought began assembling a new team of supes- as Vought would call them- to form the latest supergroup. Ben, a natural leader in his own eyes, felt a simmering resentment. He wasn’t a team player. He was meant to be the star—the hero who stood above the rest, not one who shared the spotlight. To him, the team would only drag him down, undermine his own success, and ruin the carefully crafted image he had worked so hard to build.

But, despite everything, Vought’s grip would always have been too strong. So, despite his disdain, he reluctantly agreed. They understood him. And he needed them. He had been sure he would be appointed the leader of this new group. When he was, he would ensure control over every aspect of the team so they wouldn’t lead to his downfall. This was his time.

As he stood in Vought’s headquarters, a sense of superiority coursed through him. He was the seasoned war hero, the one who had fought on real battlefields. These supes were nothing more than attention-seeking showboats, eager for fame rather than true service.

You, dressed in an orange-red suit, stood next to him with wide-eyed curiosity. You looked like you were barely out of your teens, your youthful face betraying your lack of experience. "Is it true, then?" you asked, your voice a mix of awe and disbelief. "You killed the president?"

Ben thought the suits Vought had made for the team were ridiculous. He wouldn't need a special suit to be the best version of himself. He wouldn't need anything but himself.

Without looking at you, he growled, “You believe everything you hear?”

You blinked, taken aback by his gruff response, but quickly recovered. “No, I just…” you tore your gaze from him, focusing on the other supes getting in the final pieces of their attire. “Would be a shame to be on the team with a murderer.”

Your words lingered in the tight air between you. He realised you had put up a facade, a mask to hide your wariness of the man next to you. You didn’t idolise him. In fact, you might have been close to despising, if he didn’t know any better.

Ben finally turned his head to face you, his eyes cold and unwavering. Your suit tied around your body, but it seemed loose enough to not reveal too much to the outside. Cloves hugged your delicate hands and reached until well near your elbows. A small cape was fastened onto your wrists, which Ben found all the more ridiculous. Who the fuck needs a cape?

“I’m no murderer,” his words were short, harsh. This woman had no right to speak to him like that. “At least not to people who didn’t deserve it.”

“Did he deserve it?” You started, looking back at the slightly taller man next to you. “The president.”

“I didn’t kill the fucking president.”

Soldier Boy’s glare intensified as he sized you up. Your audacity infuriated him. He had dealt with enough scepticism from his father—he didn’t need it from some rookie in a costume Vought had only designed to sell toys.

The room around you buzzed with activity as the other members of the team prepared for their first group appearance. Ben seethed in silence. These so-called superheroes were nothing like the comrades he fought alongside in the war. They lacked discipline, focus, and the hardened edge that came from seeing real combat. They were actors in a carefully orchestrated performance, and to him, that was a disgrace.

You still stood beside him and seemed to sense his irritation, but you didn’t back down. Instead, you tilted your head and raised an eyebrow, as if daring him to lash out.

“You think you're better than us, don’t you?” you asked, your voice quieter this time, but laced with a subtle challenge.

Soldier Boy scoffed, crossing his arms. “Better? I don’t think, doll. I know.”

Your lips curled into a smirk, and for the first time, Ben noticed a flash of something in your eyes—something darker, more calculating than the wide-eyed naivety you'd shown earlier.

“Maybe you do,” you said, your voice a low murmur now. “But this isn't the ‘40s anymore. It’s not about who’s the toughest soldier out there. This world, Vought’s world, is about control. It’s about image and playing the game.” You glanced around the room at the other supes. “And you, with all your medals and war stories, are just another player.”

Your words rang through his ears more than he’d like to, and he started to think he thought of you wrongly. You weren't an ordinary trophy girl- you weren't someone to idolise him. You had your own strong opinion, and it wasn't something Ben was sure he could live with.

He clenched his fists, a storm of rage starting to brew inside him, but before he could respond, a booming voice cut through the tension.

“Alright, team!” The commanding voice belonged to Vought’s newest public relations handler, a slick man in an expensive suit. “It’s showtime!”

You shot Soldier Boy a final, knowing glance before you turned away, your cape swishing dramatically as you moved toward the centre of the room. Ben remained where he was, his jaw clenched, watching you. He hated your arrogance, but deep down, he knew you weren't wrong.

This wasn’t the battlefield. This wasn’t about sacrifice, honour, or even survival. This was a new kind of war, one he wasn’t sure he knew how to win.

But win it, he would.

Because failure? That was never an option. Not for him. And certainly not for his father.

As the team assembled for their public debut, Soldier Boy straightened his shoulders and put on his best, most patriotic smile. No one in the crowd would ever know the battle raging inside him, the war he fought against the crushing weight of expectations.

He would play the game, for now. And when the time was right, he would remind them all just how dangerous a man like him could be.

Cameras flashed; eight new heroes to represent America, to supposedly save the residents from upcoming threats, upcoming wars.

“Ladies and gentlemen,” the commanding voice rang through their ears again. “May I present to you, your heroes, your idols, your team; Payback.”

Pictures were taken, but Ben paid it no mind. He was used to all the attention, to all the girls swooning over him. He stood front and centre, flashing his most practised, toothy grin. The name Payback echoed in his ears. A team to stand up for their people. But this wasn’t about anything but pride to Ben—it was about staying on top, holding onto the power and prestige he had built over decades.

And the team around him felt like a joke.

You stood a little behind him, a faint smirk still playing on your lips. Your audacity lingered in his mind, taunting him. Despite himself, he couldn’t shake the way you had spoken—calm, deliberate, and entirely sure of yourself. That was rare. Most of the other heroes around him were too obsessed with fame and too concerned with their image. They fell in line because Vought told them to.

Ben clenched his jaw, his father's words echoing in his mind once again.

A real man builds his own success, with his own two hands.

But was this success? Standing here, posing for the cameras, while Vought puppeteered them all? It didn’t feel like the heroism he had once envisioned. The battlefield, the grit, the true sacrifice—it had all been replaced by PR campaigns and flashy photo ops.

Still, he knew better than to show weakness. He had perfected the art of hiding his inner turmoil, just as his father had taught him. To the world, he was still the unbeatable war hero, the icon of American masculinity. No one would ever see the cracks beneath the surface—the doubt, the frustration, the endless quest to be enough.

As the cameras continued snapping, Soldier Boy’s mind wandered your words. It’s about control. Image. Playing the game. You had said those words so matter-of-factly as if you had already accepted the new rules of this world.

After the press conference, the team dispersed to prepare for their first mission together—a staged event, of course, meant to show the world how “heroic” they were. But Soldier Boy lingered, watching as the others left the room.

One thing was certain: he wasn’t going to let anyone take his place at the top. He would play the game his way, and when the time came, he would show them all—Vought, Payback, his father—that he was still the strongest, still the best.

Because if there was one thing Ben knew, it was that in the end, power didn’t come from suits or smiles. Power came from dominance, from control, and from the ability to crush anyone who dared to stand in your way.

And that was exactly what he intended to do.

As he turned to leave, Soldier Boy caught a glimpse of himself in one of the giant mirrors that lined the hallway. He stared at his reflection—his square jaw, broad shoulders, and the tight-fitting mask over his head. He looked every bit the hero Vought had made him out to be. But simultaneously, he looked ridiculous.

“Suits are cool, huh?” your familiar voice spoke up as he left the previous room and wandered the hallways of the slightly known building. “Kidding. You look awful.”

Ben hadn’t thought he looked awful altogether; the green hugged his features wonderfully, the gold details shining as a representation of his pride. Just the mask was a reject.

“Can’t say any different about you.” Ben said matter-of-factly.

The hallway was dimly lit, and he continued walking with purpose, ignoring the voice behind him. He didn’t need anyone's approval—especially not from the cocky rookie now catching up with him. The smirk he had seen earlier was back, and you walked with a casual confidence that irritated him even more.

You weren't one to shy away from confrontation, clearly. Your snarky comment about his suit wasn’t just meant to jab at him; it was part of the ongoing game you seemed intent on playing. Ben found it annoying, yet there was something about you that stood out. You weren't like the obedient pawns he was used to, always falling in line and praising him without question.

"Aw, don’t be like that," you teased, still walking alongside him. Your cape fluttered with each step, an accessory he couldn’t understand the need for, as if to taunt him for eternity. “Just saying, for someone who’s supposed to be the leader, you sure look like you're heading into a costume party instead of a mission.”

Ben clenched his jaw but kept walking. He wasn’t going to give you the satisfaction of a response.

You continued, undeterred by his silence. “But you know, maybe that’s the point. We’re all just playing dress-up here, aren’t we? Vought dresses us up, makes us look shiny, and sends us out to wave at the cameras. Nothing heroic about it.”

“Speak for yourself,” Ben finally muttered, his voice low. “I’ve seen real combat. I’ve been in the trenches. What have you done, other than talk?”

Your smirk didn’t falter, though your eyes darkened slightly. “You’re right,” you said, a hint of venom in your voice. “I haven’t been in your precious war. But I’m not stupid. I know how things work now. And this… all of this,” you gestured around the hall, “isn’t about being a hero. It’s about staying relevant. It’s about power.”

Ben stopped walking, turning to face you. His eyes narrowed as he looked you up and down, sizing you up again. “Power?” he scoffed. “You think prancing around in that cape gives you power?”

Your smirk faded, replaced with a more serious expression. “No, I think understanding how to use what I’ve got gives me power. You’re strong, Soldier Boy. No one’s doubting that. But strength doesn’t mean anything if you don’t know how to play the game. And that’s where you’re going to lose.”

Ben’s fists clenched. “I don’t lose.”

“We’ll see.” You stepped back, eyes locked with his. There was no fear in them, just a cool, calculated calm. “But you should know, they own you, just like they own all of us.”

Silence fell between them, only the annoying presence of you urging him to keep on walking.

“Name’s Fury by the way. For the public, that is.”

He glanced at you quickly, frowning before letting his eyes fall on the relics on the walls when they continued their way.

“Soldier Boy.”

Ben could’ve sworn he heard you laugh; just the faintest hint of a breath leaving your mouth in a way that angered him.

“I know that,” you spoke, and he grew to feel more frustrated at the feeling you wouldn’t leave him alone. “You got a real name?”

“Yes.”

“Mine is Y/n.”

“I don’t fucking care.”

“Alright, I’ll figure it out eventually." Your words echoed in Ben’s mind as you walked away, pace speeding up to leave him alone in the hallway. He stared after you, his mind racing with a storm of thoughts he wasn’t used to entertaining. He clenched and unclenched his fists, trying to force his mind back to what mattered: control, power, dominance. But your words lingered like a stubborn itch he couldn’t scratch.

You were audacious, irritating, and worst of all, you had a point.

Ben hated to admit it, but you seemed to understand the game better than most. Vought didn’t care about his war stories or his medals. To them, and to the world they controlled, he was just another pawn in a machine far bigger than the battlefield. For all his strength, for all the wars he had fought and won, Ben was no longer the master of his own destiny. He was trapped in a world of PR stunts and corporate interests. And that gnawed at him, more than he cared to admit.

He had always believed power came from raw strength, from being the toughest, the strongest. But this new world, this world of superheroes-for-hire and manufactured images, was different.

Ben’s jaw tightened as he turned and continued down the hallway, alone with his thoughts. Vought owned him, you had said. That was the part that stung the most. He had spent his life trying to prove to his father that he could succeed on his own terms. But the truth was, his success had always been shaped by someone else. First his father, now Vought.

As he entered the large meeting room, where Payback's first mission briefing was about to take place, he felt a new kind of resolve building inside him. He didn’t like playing games, and he sure as hell wasn’t going to let Vought—or you—think they had the upper hand. He was still Soldier Boy, the greatest hero America had ever known, and he would prove it.

The team was already gathered, some stretching, some chatting, all waiting for their cue from Vought’s handlers. You werethere too, standing off to the side with your arms crossed, your eyes scanning the room with that same calculated coolness. You caught his gaze for a moment, but there was no smirk this time. Just a flicker of something that almost looked like respect—or perhaps it was just curiosity.

He didn’t care.

Ben straightened his shoulders and strode to the front of the room, where the mission briefing was about to begin. As far as he was concerned, he didn’t need anyone to tell him how to lead.

The lights dimmed, and a large screen flickered to life. A Vought executive appeared, slick and polished as always, ready to guide them through their heroic PR spectacle.

The exec began, his voice oozing with rehearsed enthusiasm. “Your mission today is simple: protect, serve, and show the world why Payback is the team they can trust.”

Ben barely listened. The mission was standard fare—save some politicians from a staged crisis, and make it look good for the cameras. Easy. What he cared about was how he would position himself at the top of the group. This wasn’t just about completing the mission; this was about showing everyone that Soldier Boy wasn’t just another cog in the machine.

After some specifics and unnecesary questions from his lower ranked team, they filed out toward the transport that would take them to the mission site. Ben was the last to leave the room, watching as the others chatted excitedly, eager to get into costume and play the part Vought had crafted for them.

He glanced once more at you, your back to him as you spoke quietly with another member of the team. You were different. You weren't a puppet like the others. That made you dangerous.

But Ben wasn’t worried.

Because at the end of the day, he knew one thing for certain: he didn’t lose.

And when the time came, when he reminded the world just what a real man, a real hero, could do, You—and everyone else—would be forced to recognize that.

He was Soldier Boy. And this? This was just the beginning.

A/N: as always, feedback is appreciated! let me know if you want to be added to the taglist.

thanks for reading! <3

taglist: @demodemo909 @deangirl96 @mostlymarvelgirl @n-o-p-e-never

[bennie-jerry]

My Beef with Killmonger - An MCU Rant

I think people struggle to understand that not ALL villains are misunderstood—they’re choosing to be evil and that's it. 

Take Killmonger for example (I’m doing the MCU specifically because I haven’t read the comics—cry about it). 

Besides committing the atrocity of making those half dreads the Frank’s Red Hot for every media with black characters lately, there's aspects I don’t hear people touch on when it comes to Killmonger as a character. And if there are, I sure haven’t heard it yet---so I really hope there's some info on this man I'm missing here. But if no one's gonna call out this man’s BS, I will.

I definitely comprehend that Erik losing his dad was extremely traumatic for him to experience as a child. But Killmonger was only focused on revenge and power alone. Because of the fact that T’Chaka was dead, Erik couldn’t take it out on him and instead decided to channel his anger towards the entirety of the Wakandan royalty—even towards T’CHALLA (even though T’Challa had NOTHING to do with it). 

Even then, T’Challa was MORE than kind enough to let Erik see a Wakandan sunset BEFORE he died. 

“I’m sorry my father was a POS. Here’s a sunset, bro.” 

I get he's played by the oh-so handsome Michael B. Jordan, but let's remove the rose-colored lenses and consider something here.

On top of being a complete narcissist (who killed his GIRLFRIEND by the way), the guy also was just never EVER fit to hold power in ANY capacity to begin with. When the guy did kill (or believe he killed) T’Challa, what was the first thing he wanted to do? 

Did he try to help other poor children in the neighborhood he grew up in?

Did he make a memorial for his dead father?

Did he start a program for fatherless children (like HE was)?

Did he even TRY to do ANYTHING of value that would’ve been beneficial to others in ANY way shape or form?

Newsflash: The answer to all of that is NO.

The FIRST thing this man does as KING is start a WAR between Wakanda and the United States.

Literally his FIRST act as king is to begin an event that could very well have left so many of his people to DIE and cause mass amounts of generational trauma. Meaning there'd potentially be a bunch of children in Wakanda that ALSO won't have their fathers should they die in the war. Is that NOT a major red flag? 

The guy didn’t even DRESS like a king, he just walked around shirtless with a jacket like he was an NYC pimp. 

Even pre-kingship, he already killed LOADS of people before he got to that point. Sure, you could argue that it was in order for him to reach Wakanda or what he planned to do. But does that not raise MORE red flags about his original intent, then? 

Killmonger has a scar on his body for every person that he’s ever killed. The man’s torso is covered top to bottom in scars, meaning he has a major body count. So you’re telling me that this dude's okay with murdering innocent people just to get to a goal that was gonna lead him to kill more people ANYWAY?

Yes, I understand his trauma. Yes, I understand why he's angry at the world. Yes, I do think he's a great villain because every good story needs a good villain. But one thing I'll NOT do is act like this man's actions are justified when they're not. His conquest to create conflict highlights a SEVERE lack of genuine care for the very people he CLAIMS to wanna help.

He's a grown man who had every chance and choice to become better and he never took it because he chose to take his anger out on everyone else since the one who ACTUALLY committed sin against him had already DIED.

And when the “What If” series came out, Killmonger turned on EVERYONE he worked with, took the gauntlets for himself, and tried to reset reality.

Sure, you could say that Killmonger is a representation of black rage and on some level, I'd agree with you in terms of a story telling perspective. But storytelling dynamics don't change the fact this man is a piece of crap.

Don't EVEN try lying to me. The only reason this man has simps on Tumblr is because he's played by someone who's attractive. I bet if he was played by Steve Harvey, you'd all change your tune. 

Trauma never is/will be an excuse to do horrible stuff. Once again, trauma can make a good villain and good villains are necessary. My ONLY issue with Killmonger is that he has a railroad of fans that try to justify his actions.

It's one thing to like a horrible character. And it's another thing to say a horrible character is justified in what they do. The reason why I think it's so dangerous to do that is because it CAN (not that it always does, but CAN) translate into real life instances where people defend ACTUAL human-shaped monsters for things they do as well (ie they're traumatized and/or attractive). That's why we have hybristophilic fangirls slobbering over Wade Wilson (if you know, you know).

But at the end of the day, everyone has choices. Killmonger made his.

Even Killmonger's FATHER was saddened by what his son became while speaking to him on the ancestral plane.

N’Jobu: No tears for me? Killmonger: Everyone dies. It's just life around here. N’Jobu: Well, look at what I have done.

DAWG, WHAT MORE PROOF DO YOU NEED—

[mmikmmik]

One underrated aspect of Mouthwashing is that it's really good as a video game.

I thought the player feedback was super strong. There's so many little gimmicky nightmare worlds and "minigames" and the game really helps you understand them very quickly and keep up the momentum. There were only a couple times I got stuck for long enough that I felt like it was breaking me out of the narrative, and I was able to resolve them pretty quickly. And one of them was my own fault - I was trying to use an item somewhere the devs had already indicated it was impossible, because I forgot about the little framing that pops up to indicate you can go into "interaction mode". That's a great little UI mechanism for making it super obvious what is and isn't interactive while still being unobtrusive and letting you feel immersed in the ship environment. Oh, and using the birthday cake scene to introduce the sawing mechanic? So when the player saws at Curly's leg, it's an incredibly powerful callback and the player already knows what they're supposed to do, defending the emotional punch from a "wait... which buttons am I supposed to press for this...?" moment? Brilliant.

Mouthwashing also has beautiful interplay between its gameplay elements and its storytelling. I think of Mouthwashing as "movie-like", because I feel like the pacing + tone + themes remind me very much of horror movies, but this story is meant to be a game. Think of the scene where Jimmy is basically telling Curly that he intends to destroy the ship. It starts with the player controlling Curly in first person POV. But right as Jimmy is talking about how Curly doesn't have agency in his own life ("You're standing at the top. Feet in cement. I get it now.") the camera escapes Curly's perspective and moves into a third person perspective, giving us our first look at pre-crash Captain Curly.

That was the last moment Curly had to avert the tragedy. He knew Jimmy had attacked Anya. Anya told Curly that Jimmy must be physically prevented from accessing the means to hurt the rest of the crew. Jimmy said it would be best if they all just died and then walked away saying "I'll take care of it" and Curly stood there watching him and did nothing. In chronological order, the next scene is the first time the player controls Jimmy. The agency and control, the status of "player character", has left Curly. He let himself become a character in Jimmy's story. And by the time he gets control again, it's already too late.

(Not that I think the game is actually presenting "player character" status as something that's true or real. Look how much Anya's internal life and deliberate choices shape the story, before and after the crash, even as Jimmy casts her as an annoying quest-giver NPC.)

I also really like how much playing through the little nightmare vignettes have the player recreate Curly and Jimmy's decisions. Like when Jimmy is forced to stare directly at the post-it note that's telling him to take responsibility (or whatever the exact words are), but he simply backs away from it. It's all about the way he finds mental and emotional loopholes to get away from what he's done, no matter how directly he's forced to confront it. What other medium could so intimately guide you through that metaphor, to express its internal logic so clearly without words? God, I love video games.

[notmorbid]

...dream department store.

dialogue prompts from the dallergut dream department store: a novel by miye lee.

having a fixed eye on the future is the most beautiful virtue.

you do not need to understand. it is better that you do not.

we all sleep to get closure on yesterday and prepare for tomorrow.

your look really does scream 'manager'.

they say i'm not easy to talk to. which i don't mind.

any questions for me?

whatever happens here, stays here.

i would love to see [name]. at least in my dreams.

can you at least pretend you're following?

love starts when you recognize your feelings.

the night is long. why hurry?

you don't seem the type.

it's like i've seen this before with a different cast.

i booked a session at a fortuneteller's shop nearby.

what fun is it if you know your future in advance?

pride doesn't pay the bills.

this might just make for good romcom material.

i remember everyone who's been here.

it's no fun to know things in advance: same with cinema, same with life. i hate spoilers.

some bad emotions can be very useful, indeed.

why am i still having these dreams?

do you know how awful it feels to relive the worst moment of your life?

are you saying there's no backup plan?

i'm a people person. i just don't like to be outside.

everyone has dark moments they don't like to remember.

you aren't as intimidating as i expected.

you certainly know how to lighten the mood.

you're looking out for me, aren't you?

so many people are oblivious to how dangerous the world is.

everything is possible in a dream.

marketing is all about storytelling.

_____ was right about you.

santa claus knows exactly what you like.

i plan to hibernate for a couple days straight.

who is it? is this someone i know?

coming home before midnight? that's new.

thank you so much for believing in me.

you may have fooled ____, but you can't fool me.

freedom comes in different shapes and forms.

i wish someone would show me where the line is between ambition and delusion.

i can't picture myself wanting to be anything else.

if you've done your best, isn't that already a success?

you look like a model.

you compare yourself to others too much.

it's all the same, every day.

you still have a lot to learn.

i feel safe, having you with me.

every little thing you do is an act of love.

i thought forgetting was the only way to live.

you're too young to forget things already.

how would you describe your life, looking back?

i'll always be here, if you ever want to see me.

you knew about that?

things are always in the last place you look.

i've been waiting for you for three full minutes.

what a perfect day.

[doomsdaydicecascader]

wow you’re the first person i’ve seen actually support the retcon, that’s cool

i’ve always been neutral on it but would you be down with explaining your opinions on the retcon?

so my number one feeling is that the way homestuck is most like a game is not in its framing or its many subsystems within itself, but in that homestuck is a challenge to the reader first and foremost. it challenges a lot of existing preconceptions about what stories are, what stories can be.

sometimes this is in some stupid ways, but a lot of the time, it's in very palateable ways. hussie describes stuff like the juxtaposition of the earthbound walksprite panels and hussnasty mode as a "creative power move", something that keeps readers on their toes, something which kind of prods at your expectations and why you have those expectations.

and it helps to ask, what challenge is homestuck presenting to me, the reader, by doing this. this is the repeated motion of homestuck, like. "oh, what, it's insane that there's a whole playable game", "oh, what, it's insane that the fallout and consequences of an entire session of the game is being given in just three walkarounds". rose's arc is a challenge to the idea of a "coming of age" story, how do you come of age into a world where the metrics for growth and maturity and adulthood are denied to you? what if "adulthood" and "maturity" were fake ideas all along? well, if nothing matters, maybe you should have a drink to rest your mind about it.

one of the most direct challenges is the challenge of what death means in a story - there are a lot of stories where death is a bad end for a character. an impactful enough character death can change culture around itself for as long as it remains relevant. but that's not what death is in homestuck. death in homestuck is the freedom from being in homestuck. this is most prevalent with its deployment of gnostic ideas - yaldabaoth's treasure being homestuck itself expresses this most directly. the creator has made a flawed world and encourages the suffering of its inhabitants.

death is freedom from this flawed world, and this is expressed in terezi: remem8er. characters who did terrible things, horrible things, unforgiveable things, can find peace in death.

and i think the retcon is far and away the headiest challenge, the final boss of storytelling in homestuck's terms, because it directly challenges the idea of continuity, which is, by the way, TOTALLY FAKE.

continuity isnt actually real, its a thing youre actively constructing as you read. the drawings, the words, the music, the animation, the gameplay - all these things can help shape the idea of art, but the art itself, that's produced by you, the reader. and i think this is a good time to switch over to talking about the never-ending story for a moment.

the never-ending story is a story about atreyu. he goes on a fantasy quest, one which involves the death of his beloved steed artax, the plight of the world of fantasia, and confrontations with the nothing, this devouring force which threatens to end it. and ultimately, he loses. the forces of the nothing are just too overwhelming for a fictional character to overcome. the stakes are too high, no ending could be satisfactory and not contrived.

but then he doesn't lose.

because the never-ending story, the movie, is about bastian, and the relationship and empathy he builds with atreyu as he follows him on his adventure, and bastian, as the reader, is capable of caring about atreyu and fantasia even as it's been reduced to nothing. and its bastian caring about it, and bringing his own context, his own experiences - the name of his dead mother - to the story, that allows it to be reborn as something that can be completed.

and then he rides on the big luck dragon falkor and barfs on the bullies from the start of the movie.

homestuck is doing the same thing, but filtered through the language of video games. if youre playing ff9 and lose to black waltz #3 or whatever, it's a video game, that's to be expected. just do better next time. you wiped on the trial, it's normal, regroup and pull again. youve got 90 minutes. and in that time, in that regression, you become the kind of person who could overcome that challenge.

and it's a powerful challenge! it's one most readers don't overcome, because they are still stuck in the terms of thinking about things in what they expect out of it, instead of what it is. and this is kind of the core idea of homestuck.

hussie put it the best themself:

Homestuck, as an examination of all forms of creative practice, whether cosmic or artistic, isolates the tension between perfect, celebrated idealization and specific, flawed instantiation. The purity of the ideal is what's initially sought, but the imperfection of the specific is what has true value. Conflict and suffering arise from the guilt and stress associated with overvaluing the former. Deliverance and humanity come from recognizing and embracing the latter.

and honestly, i like what the retcon does for basically all the characters it changes dramatically. people take issue with rose's alcoholism plotline being resolved with vriska_slap.png but i don't really, because rose's alcoholism isn't like, of itself if that makes sense. it's alcoholism as an extension of nihilism, in a way that doesn't reflect real alcoholism, but it doesn't have to. s'a story. things can mean things nonliterally.

and vriska regresses as a character, but i think this specific regression is the core of homestuck. you get the platonic ideal of vriska-ness, one who didn't see and feel the trauma she inflicted on tavros, one who has completely supplanted gamzee's role as the plot-mover guide in the alpha session. and one who only makes token gestures at reparations and atonement for her misdeeds. one who is still obsessed with being at the center. and between 2016 and 2019, i was so certain that she had died a heroic death in act 7 that it is an immovable core plot point of my own comic.

(homework: why would homestuck call act 7 the rapture?)

and like, those pre-retcon characters literally do still exist, they show up in remem8er. remem8er goes unbelievably hard on giving every single dead character in the comic the best catharsis available to them: deliverance from having to be in homestuck. and i mean that entirely sincerely! the best ending for a homestuck character is not being in homestuck. and that's a tough thing for people to get their minds around.

but again, it kind of comes naturally with taking homestuck as it is, and thinking intently about what it's doing, what conventions it's challenging and how it's challenging them. because sometimes it's deeply stupid (decade-plus of thought on the matter has not made the incest any more palateable or understandable)

but sometimes it's the best shit in the whole world

[baileysbooks]

Six Star Reads

Ever read a book that just goes beyond your wildest imagination? That totally alters the way you feel and think after you close that final page? Me too. Here are my all time top reads, or Six Star Reads!

Alone with You in the Ether by Olivie Blake

So before I tucked into this book, Olivie Blake was already heading towards being my favourite author, or at least one of, but this book cemented her in that position and just blew me away. This book is a romance, but its also a story about time and space and math and bees and humanity and human connection and love and family and loss and mental health and so many things, all while just... being a book about two people meeting and falling in love in Chicago. This book marries incredible prose, beautiful storytelling, and Olivie Blake's masterful character work into something so incredibly special. I read it, re-read it, listened to it, and its the first book I've ever annotated, as someone who does not enjoy writing in my books. I have not been able to stop thinking about it since I read it and probably never will.

The Night Circus by Erin Morgenstern

If vibes is your thing, you and I are going to enjoy a lot of the same books I think. This book entranced me. There is plot and there is storytelling, but this book is so wrapped in atmosphere and energy and this beautifully crafted magic that I could not put it down. I read it a few years ago and I think it about it at least once a week, and its the only book where, even though I already own a copy, I have to physically stop myself from buying a copy whenever I see it in a store. I could barely summarize the plot to you but it wouldn't matter if I did. This book just has to be experienced.

The Chosen and the Beautiful by Nghi Vo

Yet another author who is easily one of my favourites of all time. Her prose is extraordinary, especially in this book and in her other book Siren Queen. A Gatsby retelling, told from the point of view of Jordan Baker, Daisy Buchanan's best friend, this book brings magic, and even some decidedly dark magic, into the story, along with exploration of race and gender and sexuality in the 20's, all under the backdrop of the sticky, intoxicating beauty of a sweaty New York City summer, which Nghi Vo manages to capture with an extraordinary deftness. The point of view shift also makes Daisy into a fully formed character, someone with agency and a rich life, instead of leaving her as the object of Gatsby's desire. This book is rich and lush and gorgeous and I recommend it to everyone.

The Last Tale of the Flower Bride by Roshani Chokshi

This gothic tale was a decided shift from other gothic works I had read, in that it is so deeply focused on a friendship between two teenage girls and how a connection that deep and that intoxicating can shape a person forever. The way the story is told is delicious, with stunning prose that slowly but surely weaves the story into being before your eyes. I listened to this book and it quickly became an all time favourite. It's hard to explain what this book is about without spoiling, but go into it blind and just let it take you.

Six of Crows by Leigh Bardugo

This is the duology I credit with getting me back into reading. An expertly written cast of characters, a fast paced plot, a deftly handled heist, stunning world building, and just enough romance and intrigue and twists to keep your on your toes until the last second. I know this book has been talked about a million times, and not much can be said that hasn't been said before, but it really is as good as everyone says. If you haven't yet, give it a try!

The Rage of Dragons by Evan Winter

If you like action and fight scenes, and fantasy, this book is an absolute MUST. Based in African mythology, a revenge story that, honestly? Puts John Wick to shame. The action in this book was INCREDIBLE and once the story starts it does. not. let. up. This book moves at a blistering pace and takes turns and twists I did not see coming that make the stakes feel so much more real. I read this book in two days, bought the sequel immediately, and am now waiting for the perfect moment to crack it open and lose myself in the world again. Definitely dark, much darker and heavier than the other books on this list, but its another one I have not stopped thinking about.

Let me know what you think of these, and if you have any six star reads!

[feralwetcat]

I haven't been very sappy on main so *throws sad shit at you* (aka me thanking the fable community and cast again, cuz goddammit you guys are so neat and cool)

Fable smp was, and is probably one of my favorite things I've discovered, i clicked on one of heyhays vods one day on a whim and gods im so glad i did, the way Fable has shaped me as a person and helped me improve is honestly crazy, its how i got into doing art, how i improved, how i met most of my friends, its genuinely been an amazing journey.

For me as a person, my home has always been an odd environment, without getting into too much detail my family has lots of trauma circling around, my brother and dad especially, so the way Fable comforted me through bad days, or when my dad would burst out at me or my mum, its genuinely such a crazy thing that these little block guys have helped me through so fucking much, the way they've helped me discover who i am, to feel represented through so many characters, heck even just hyperfixating with others, its amazing

Its helped me become more confident in my own skin, able to accept my body and how fucked up it is, from the rep with disabilities to identities, seeing something like "hey i have that!" Or "i experience that!", even the small pieces, its so fuckin awesome to see such cool people that are honestly like me

To all the cast: thank you, if not for making Fable, but for representing people, for showing us how much of an outlet being creative can be, and everything in between, all of this is so crazy how cool and detailed it is, truly.

To the fandom: you all are so fuckin cool, the way i get so excited when you guys interact with my stuff, art, silly posts, or just jokes, it's just so cool to interact with y'all, I've made so many friends and i know I'll make more, especially with all the smps y'all promote, keep doin that, i love your stuff guys<3

(now for specifics that have made me feel seen ayo)

To Athena: thank you, genuinely, for making a space that i feel seen in, i feel welcome in, the rep with C!Athenas disability and still having a great time, having a fulfilling life, which I've been told so many times I can't have due to my disabilities, its so amazing, even if its sleepy stardew, lore, or anything in-between, your community and self is so inviting and comforting. Your voice has always been so comforting (like a chill pink mixed with a light coffee brown feel:]), and i genuinely can't thank you enough, if not for representing me, but for becoming a comfort streamer for me

To Ghosty: Caspian as a character was so cool to see, his story was like a good book really, one you could pull up and watch with some tea or hot coco and a blanket, one that was so interesting, I've experienced some of the issues he worked through and it felt so amazing to see, especially a trans character whos entire personality wasn't that he was trans, or a character who struggled with grief but was still happy and able to be *alright* sometimes, thank you.

To Sherb: the way you did lore, and continue to do lore, always excited me, got me feeling genuine emotions, which I've always struggled with, it made me get into storytelling, something I've always enjoyed, it made me get into telling my own stories, its been so enjoyable, and will continue to be ! Icarus as a character made me feel seen in the way that you can care for someone, trust them fully, but they can still be a good person, but the way they treat you makes you believe they're a good person, and thats really important to me. Thank you Sherbert

To Connor: gods your writing is so cool, your fics motivated me to start writing again, and Ulysses as a character as well is such an interesting character, his writing is so neat and his story again made me feel so seen in many ways, and your writing is so good

Finally, To Beck: Arisanna was and continues to be a character i resonate with, always working for someone, never for yourself, feeling alone at times even with many people, having to or feeling like you have to provide for your friends and family, i grew up feeling like i had to protect my older brother, make sure he was alright, and Ari made me feel seen in that way, thanks for that, really

Thank you everyone, for supporting me, through my art, pickup lines, or just dumb jokes

Signed, FeralWetCat (Kai)

[tamelee]

Hi Tamelee!

I was wondering if you could give me some tips/advice about color theory (in art/illustration specifically)?

Anyway, hope you’re doing alright! ( how’s life post uni if that’s not too intrusive?)

With luv <3

Hi @bruitdevague !!

No problem! ^^ I mean, with AI and all, things have changed a lot since my previous plans fell away. It's a bit stressful to say the least... But I don't want to stop drawing, and I really want to dive deep into storytelling (I also can't wait to share my SNS stories with all of you 💕) so, we'll see!

And yeah, sure!

Color theory is a massive subject though, is there anything in particular you want to know more about? For me personally, I think the best thing you can do is to simplify your learning process. I've ignored color theory for a long time because I found it complicated and overwhelming and always just thought I'd wing it. The main reason being that color is relative: it changes depending on the impact different interactions have with the subject: material, color temperature, transmissions, reflections, etc. And my brain can't really handle "well, it depends" when it comes to learning new things. But the result is obvious; I think some of you may be able to see at which point I finally started to learn it a bit on my own journey. ><

Of course, you’re completely free to use whichever colors you want and experiment to develop your own style regardless of theory, but understanding how colors interact is helpful, and in some cases, crucial. Some things are just more visually appealing together and more effective to suit the mood you're going for. (Look for complementary color theory, here's a helpful tool.)

I think, above anything else, the best thing you could do is start learning how to cell-shade until it becomes easier. (It's the art/shading you see in anime, webtoons, and comics.) This also helps you with forms and shapes.

Open a document, add a screenshot, and take your color picker to study the color wheel and take notes on saturation, hue changes, and light. 

I've done this many times until things just started to 'click' in a way. But take your time, it can take a while. For some this also might be overwhelming, in which case I recommend doing this while studying the theory together.

When it becomes easier and you want to take it a step further, then look at the famous ball that explains other lighting:

And honestly, also take your time with this.

Take any term, learn what it means and implement it one by one until it starts to make sense.

One thing I'd certainly learn first, or which one has been the most helpful for me is learning about color temperature. Since color is relative, shadows/highlights can become cooler or warmer (it's the shift in hues), which is a much more efficient way to look at it than determining whether something is just darker or not. When I started, I learned greyscale values at first, and although it helped me a lot regarding readability, it never taught me any of this, setting me back for a while. If you want to learn more about the theory itself, I'd recommend: "Color and Light" by James Gurney, and follow along while reading with a document to experiment. Or watch YouTube tutorials for free, but definitely scribble along while you do so! I think, even if you watch YouTube tutorials, it's important to have some kind of goal, or steps you want to take, otherwise you'll drown in all the information. So, this is what I'd recommend:

Cell shading (like in anime, webtoons or comics)

Learn about color temperature and experiment with casual scribbling.

Study the relevant terms which you see in the circle (sometimes they have slightly different names though. "occlusion shadow" can also be referred to as "ambient occlusion")

Implement them one by one into your art/illustrations if you want. Maybe just add highlights at first, then maybe consider focusing on the terminator if you're interested.

Practice a lot and whenever you find something you like, use the color picker to see what happens to the colors. You don't have to copy it, but you can copy the changes within your color wheel and see what happens!

Like I said, it's an incredibly large subject, but I hope this can at least give you some direction ^^💕

[xaeydnquartz]

Part of me kinda wants to stop DMing my first and current campaign? IDK just need to vent

So, brief expo. like many, got into CR during the pandemic (mainly due to "The Legend of Vox Machina" which lead to me actually bingeing the all 3 campaigns) During which time a friend (who was in my immediate friend group but like the rest of my friend group, i didnt really feel close to) told me that he was really into CR as well. As a fresh new critter, i was stoked. Was able to share my blossoming love of CR with someone (FINALLY!) during which we both mentioned how D&D looked so much fun and that it would be really great to be able to play and ooo what if we got our friends together and played.

After which we discussed, if we did, who would be DM? Seeing as how none of our friends really played D&D our talk lead to either my friend or me and after asking the question "Which do you think you would prefer more?" It was clear i would try my hand at DMing (i like lore in games, and i like storytelling, and im a tad bit of a control freak at times, lol)

Anyway, we eventually got in touch with our close knit of friends, and though i intended to be a standard 6 we suddenly had an 8 party party (and that was with me having to tell even less close friends there wasnt room).

Feeling it would still be manageable (as there was precedent that i could pull inspo from, CR) i began planning a rough idea of a campaign and working with my friends to create their characters and running a session 0 so we were all on the same page. You know standard stuff.

-Fast Forward to current date and time-

It has its stressful moments, but i still am able to enjoy the time with my friends for the most part (though theres a lot of times were ive never felt lonelier) Which brings me to the whole point of the post, my need to vent to the void about this loneliness. Nobody really gets in touch or interacts with me at all. Not to talk about the campaign or even collab on their characters. The most i get are occasional critiques about how i could have done something better couple sessions prior and request to add another person to the 8 person party. When we have sessions, people show up late quite often, leave early quite often, have to cancel as they have other things they are doing (even though we planned and scheduled weeks prior) and even when people are there they somtimes feel like they arent always present. i already feel extremely distant from all of them as they all live closer to each other while i live on the totally opposite side of the state and theyve known each other way longer than i have, but the minimal interactions they have with me, the DM/GM of all people, just continues to add to all of it I know we all are busy with our lives, and that compared to those things D&D is really not that big of a deal or important. And i get that, it is just a game afterall, but it still manages to hit pretty hard

I've communicated my feelings through our time of this campaign, if im being honest, maybe not this indepth. I mean, its partially because i barely see or talk to them (again life gets in the way) but also because i feel extremely guilty for putting this kind of tension to something we are all supposed to be enjoying and relaxing to. Its especially painful as most recently 2 players, who said they would get in touch with me about changes possibly being being made to their characters, never got in touch in anyway shape or form, and its been about a month now? And session is in a week...i didnt even get much as a reply back. Idk, its been almost about a year now and i felt i just needed to get this out somewhere other than debating myself.

Thanks for listening tumblr.

[marithefriendlyghost]

There's something about Pyre’s inherent queerness that I think many people miss in Supergiants titles. Like, okay. Hades, there is so much there, and it's visible, we see it. Transistor we have a married (or at least connected) gay couple and our fav toxic yuri trope. You could argue that Bastion has some elements if you squint hard enough. Pyre though?

First, we can make our PC any gender with the varying pronouns which can be changed at any time in your journey. I’ve come up with so many Reader OCs that have never seen the light of day but are there existing.

Volferd and Oraclech. Just them. I won’t say more if you know you know. And if you don’t read into it they might seem completely straight and that's okay!!! Games don’t have to meet a quota for representation.

It’s because of how Pyre goes about storytelling that if you look at it (and read into it through a queer lens), all of the cast could be queer in some way, shape or form, and I love that!

Like ough words are hard and as a young person who’s afraid of saying the wrong thing I see it as this:

“My queerness doesn’t need to be visible to be a part of me.”  that’s how I see Pyre. It’s there if you look and plenty more than just that, I love this game. also this:

[epickiya722]

Y'all gonna hate me and I don't want you to, I do not. But it annoys me sometimes how quick I see some people call a mangaka of a Shonen misogynistic for something and it's like... do you know what a misogynist is?

Like, I can see a mangaka being a misogynist for killing every female character and none of the male characters.

I can see it if the mangaka doesn't develop any of the female characters and give them all the same personality and/or design (like body shape).

But... uh...

When a mangaka kills off a female character it's "misogyny"?? But then the kill count the majority be males and people act as if it's illegal for a female character to die in a story. You know, some creators are actually afraid to kill off women and girls because they're afraid the crowd will call them misogynistic for it even though just like men and boys we are human and can die, too??

Sometimes the female character killed off is a minor one with no development because it's not like she was ever important to the story anyways. And guess what? We have had male characters the same way, too. It's not that she was killed off for being female. She's killed off because just like her male counterpart, she was written to die off anyways. She isn't important just like the guy. It's not misogyny. It's storytelling.

People are quick to say "misogyny" when a female character doesn't have a huge backstory or little development, but are the same ones who have all this energy to write multiple fics giving a male character who already has a damn backstory in canon all this development and whatnot. What if she is a female character who isn't the focus of the story anyways? Sometimes, it's not necessary to give every character a backstory because of the story. Use your imagination. Where's that energy? Where?

Y'all can't be seriously the same people who can write a bunch of analysis posts on a male character and not on a female one when she has just as much as development or even more than the male one and then call the creator a "misogynist". You know how many Miruko analysis posts I have been able to write?! Just by reading one line or looking at one scene?! So it's not even impossible to do so with just little development. You just don't care to do it. You don't have to, but come on.

And the fans of a female character can be just as bad because some of y'all can only call a female a girl boss and "she's so attractive" and are hush-hush about her other traits her creator did give her.

A lot of Maki fans like to go "she's so attractive, she's so girl boss" but I question sometimes if any of you remember her backstory and why she's attending the school. Or do you just like her for being attractive?

Some of you were mad because she was sidelined for most of this arc as if she didn't get a whole arc to herself involving the Zenin clan. Hell, I say she got a lot more screen time than characters like Toge who we haven't seen in how long? Hell, we didn't get much with Noritoshi with his clan like that.

Also, uh, there are other characters? Like, I wasn't aware Gege have to stick to just writing one character. I wasn't aware, why no one told me. I thought when there's multiple characters you would want to write them all having some bit of screen time. My bad, I was mistaken.

For real, and I know someone will disagree and if you do, I honestly don't care. But compared to someone like Yuta, Maki feels more like a human character and not an accessory. She has been hyped as a character since chapter one. Megumi name drops her when comparing Yuji to her. Right there should have been a clue that Maki was gonna be a big character in some way.

Oh! And it's also "misogyny" if a female character is a villain or unlikable even though some of you yell "we need more complex female characters".

It's like with a character like Mei Mei. I already made a post about it, but I'll say it again. You say you want a complex female character, Mei Mei comes along and you want her to die. But there's been a lot worse male characters and you folks be drooling.

It's not that you want a complex female character because a story needs it. You want one so you have a female character to bully and hate on while you make heart eyes at and hype up the male one.

A mangaka isn't the misogynistic one for writing a female character like that, but it does feel misogynistic to act as if she shouldn't exist and be so quick to go "He's my husband" to the worse character in existence who is male.

And honestly, I don't see why any of you want more complex female characters like that to bully and hate on when you do it already to the less complex and/or good ones.

A mangaka is apparently "misogynistic" for not showing a female character for one chapter, but you don't even vote for her in popularity polls. Stop it now.

I think about how some of you complain about how Ochako is written and call Horikoshi misogynistic for it, but you folks be the same ones who can only seem to bring up her "crush" on Izuku even though she has been shown to have other capabilites and traits way before that moment.

Look, just say you don't like the writing. Sometimes, the writing can be a little wonky for male characters, but I don't see any name calling for that.

Overall, my point is learn when to say when a creator is a misogynist. A creator will deliver what you complain a female character is lacking and you ignore it and then claim "misogyny" if something bad happens like a female character dying. It's fair game, folks, in a story for female characters to get the same treatment as the male ones. It's not because of her gender, it's because she is a character. She just happens to be female.

If you don't like the writing, it's cool not to. No one is forcing you to. Sometimes, the writing does just suck. But it's just extreme as hell to claim it's misogynistic if it's not going the way you want to.

It's just annoying doing it when it comes to Shonen, especially nowadays where some of the mangakas actually have better female characters than years prior. Sometimes, the creators aren't afraid to treat the female characters like they're actual characters to the story.

There's going to be a lot of focus on male characters. There's going to be more developed male characters. But that doesn't mean there aren't female ones. There's going to be more male characters.

All this works in reverse with SHOJO.

At this point, watch that. But don't be that same person to complain about "so many female characters" or "underdeveloped male characters". Or probably you won't because will you see those creators as bad people the same way you do for people of Shonen? Or this is just a case where "It's okay anyways, he's male".

It is just astonishing that the same people who will call a mangaka a "misogynist" are the same people who actually don't really give a damn about female characters. Like, you either don't even have a female character you like and find all the male ones hot. Or if you do, you still don't really give a damn about her story and just like her for being attractive and a badass.

And it can't be "her writing sucks" or "she's terrible".

If you can like the blandest male characters and ones who have actually assaulted others, then it shouldn't be problem with female ones, right?

Just... stop throwing "misogyny" around especially over some damn fiction. Yes, a mangaka any one, any creator is capable of being a misogynist.

But y'all say it so much you're just muddling the word. There are cases where it applies, just not all the damn time!! There's more serious cases where the word "misogyny" applies. Like, real life issues.

It's going in the "overused and lost all meaning" word basket with words like "queerbait" and "toxic".

[artharakka]

Can I ask you where have you found inspiration for your art? For example I've noticed you have a very specific (and beautiful) way you draw jewelry and clothing. The shapes are very organic yet grounded at the same time, give a bit of a Nausicaä vibes, as well as art noveau meets iron age.

Honestly I could go on and on about the beautiful details of your art but I don't want to seem too fangirlish :D

Ohhh thank you I love those comparisons 🧡 Because I didn't even know those are the vibes I was going for but yeah that's great actually... This is like when one of you made a playlist inspired by my art... (I still have that saved btw! 🧡 And I still cannot believe!!). Here's a little Rhiam drawing with some jewelry she doesn't (yet) have in canon (earrings she does have but she cannot use them yet)

But what are my inspirations hmmmmmmm many! Idk even what all I have inhaled into my art but I try to list something (this got long so rest under cut):

Nature 🌿 I love both mundane (sparrows, plants growing from asphalt cracks, moss covered street signs... the little details) and grand formations that fill me with awe. There's something about things so vast that take my breath away. Like oceans, mountains, high cliffs, endless tundra, wind so strong you could lean against it, ancient stone that has been scraped visible by massive sheets of ice thousands of years ago. (But I'm guilty of not being that impressed by conventional beauty of average gardens. Aren't people tired of only finding planted blooming flowers beautiful!). Most often I'm drawing inspiration from nature familiar to me, that being Nordic/Scandinavian ones.

I already said nature but birds deserve a special mention! Agh I just love those funky little animals 🦅

Stories! I love making stories, I think they help me grasp and go over my thoughts. I love pouring myself into my characters, it makes them feel both personal but also makes it easier to talk about myself to my fellow storytellers. I'd love to do a long graphic novel or write a book one day, but I also love making ttrpg stories just for and with our little group 🧡 For a long time I felt kinda bad that I wasn't doing "real art" that wasn't just illustrations of my characters. But then I realised doing art for arts sake doesn't really inspire me. I don't want to do art that I'd think would be easily consumable nor do I have any great performance to create with my art. I just love to illustrate stories and tell stories through my art and I think that's great! I still love seeing and experiencing artworks that aren't this illustrative, I just don't have the motivation to do that myself. But I can get really excited of works like Emma Jääskeläinen's granite sculptures!

Other artists! There are two categories I think: 1) those whose work I've seen (usually irl) and whose technique or themes or symbolism facinates me. I usually don't want to create similar art, or replicate their style, or medium even. But there's something about them, a feeling of awe or they feel formidable. Or there's something clever about them that lets me have this sense of epiphany. For example, Jääskeläinen who I already mentioned, Marcel Dzama, Merja Palin, Helena Vaari, Marika Mäkelä, to name a few I've seen lately-ish. And then 2) there are artists whose stories and/or style inspires me and influences my art. One of the biggest inspirations to my softer line art style was and is @albabbgg. @serpentface has some really cool worldbuilding and designs, I think they were also a great influence to how I draw bodies these days. @wiltkingart has also very cool shapes and genders in his paintings. @sanctus-ingenium 's stories and art have been a huge inspiration lately. And to list a few others now that I started: @pangur-and-grim/@greer-art, @beidak-art, @elemei, @emilylorange, @pansylair, @cy-lindric, @psrj, @lokorum

And many others I'm probably forgetting now! I also have a side blog @sancta-cessatrix where I occasionally reblog cool art, check tags #art #inspiration

[mikuni14]

Dead Friend Forever - Ep 8

One of the reasons I love DFF so much is the fact that we already have 8 episodes and NONE of them are bad or worse than the previous one, there is no annoying fluctuation or drop in quality. From the first episode, the series maintains a constant, very high level, which is almost unheard of in BL series, or in series in general ✨

DFF has the perfect storytelling for a show about crime and mystery. It is as if we were in a dark room surrounded by vague shapes and with one light source, and with each episode the light gets stronger brings new shapes out of the darkness. In this episode, it was Tee's involvement in Non's disappearance. And also Keng's fate. The crew's behavior at the beginning of the series, their sense of guilt mixed with persistent and aggressive convincing themselves that Non simply disappeared (also - as if it were normal, such a disappearance), and Tee and Top's belief that Non is a ghost (i.e. dead), found a perfect explanation. Because when they see Non for the last time, he is alive. And Tee (and possibly Top because he was there) know more, but not everything. What is clear, however, is the power of delulu in all of them and the creeping, repressed subconscious knowledge that no, Non did not run away with Keng...

My personal comment: while I can objectively consider their shades, greyness, nuances and so on, the fact that they lied to the police without hesitation in Non's case and then everyone preyed and fed on his work and basked in the light of success, eliminates all their "shades". And yes, even Jin showing off his pained face. I'm a fan of PheeJin, but I want to make one thing clear: I'm not interested in his remorse, his or Tee's motivations. I'm interested in the result and how they behaved. I'm interested in their choices. And in the case of these guys, the truth is really clear and out there. It's not about one choice, one mistake. What I mean, an endless SERIES of choices and mistakes ending with Non's disappearance, who no one knows where he is, doesn't go to school, is with some shady adult, doesn't live a normal teenager's life. The way THEY ALL LIVE.

Non's relationship with his parents was amazingly presented, as well as the accusations about which one of them was responsible for his sexuality, which is such a rl experience. It's also telling, that neither of his parents asked him how you were feeling? Do you need help? No, they just made it all about themselves, thought that the teenage child, THEIR CHILD, just did it on its own, probably to spite them. And they immediately compared him to his brother who "would never do something like that." Also Non's mental breakdown, his manic episode, but also how he didn't get rid of his old habits, his gullibility, because he gave in to Tee very easily and drank water from him. This is all very credible. Barcode played phenomenally in this episode, his sobs, screams, laughter, the way he flinches when someone says something to him or touches him. Amazing.

Por is happy with himself and his success and then his father's words "My help in this is not in vain" bring him back to reality. I love his reaction to it, how all his satisfaction disappears. I wonder how many times Por realized that he was just an extension of his father's political career. And that he will never do anything on his own, whatever success he has will always be the work of others, his mother, his father even fucking Greasy. Even Tee said that if it weren't for Por's father, this movie would never have been made.

SPOILER FOR THOSE WHO HAVEN'T SEEN THE PREVIEW OF THE NEXT EPISODE: It seems strange to me that Phee and Tan spent 3 years investigating Non's disapperance, being friends with his bullies and, in Phee's case, sleeping with his potential bully. And only on this trip did they finally decide to uncover Non's fate (I tend to believe that Phee and Tan are not murderers and are conducting a psychological war with these boys, and the murderer acts independently of them). I don't question the fact that it was difficult to get anything out of them, because it was obvious that no one would want to talk about their involvement in something like that (which is why I believe that Phee and Tan came up with a plan to scare them and get information out of them). The only thing that worries me is time. 3 years in the company of your loved one's/ your brother's bullies is A LOT and a very heavy mental burden to bear. But I believe in this series and I know it will explain everything 😍