#WHY DID YOU KILL HIM

[totallyhealthyobsession]

Not me on a Tuckson fanfic binge again and being so caught up in my feels that it’s hard to concentrate at work

[sunderwight]

Scum Villain AU where Shen Yuan and Shen Jiu transmigrate by swapping lives (i.e. Shen Yuan wakes up in Shen Qingqiu's body on Qing Jing Peak, post-fever, while Shen Jiu wakes up in Shen Yuan's body in a hospital in modern China) but it doesn't quite work right.

The system glitches or something and they end up having to jointly time share their lives. Every time a certain moon phase or something (cyclical) comes around they abruptly switch back.

So they spend the entire time trying to undo everything the other one has been up to while everyone around them is just desperately attempting to figure out wtf is going on. Shen Yuan does the skinner quest and stops Luo Binghe's abuse, and Shen Jiu gets a job with a rival company and starts showing up Shen Yuan's brothers. Then they switch back and Shen Jiu is like "it's woodshed o'clock for the beast" and Shen Yuan resigns. Then they switch back again and Shen Yuan saves Liu Qingge's life and gets poisoned defending Luo Binghe, and Shen Jiu creates his own start-up and blackmails his eldest brother about the mistress he's just uncovered. Then they switch back and Shen Yuan gets his brother and his sister-in-law into couples counseling and Shen Jiu embarks on a quest to either cure himself without Liu Qingge's help or die trying.

Eventually they just start leaving bitchy messages for one another to find and doing things that won't cause lasting damage but are incredibly petty. Shen Yuan keeps trying to tell Shen Jiu to read PIDW but Shen Jiu takes one look at his merch-filled bachelor pad and immediately decides that his opinions aren't worth anything, so it takes him a while to actually do it (he is really mad about this when he finally opens the novel and it turns out to be extremely relevant information).

[hinamie]

恵 ; "blessing"

12/22: consider this piece my love letter to a character who has become so near and dear to me and who has inspired so much of my artistic growth this past year <3 happy birthday megumi, your name becomes you ⊹ ࣪ ˖

[nixthelapin]

I find this dichotomy so funny:

Odysseus, who has been in war for years and is quick to be crafty and trick his enemies: *laments and mourns giving up mercy and being forced to become the monster*

Telemachus, the one with a reputation of being small and weak with a good heart: *kills a man from behind while they’re distracted without any hesitation or remorse*

[fincherly]

my gf was looking through wesker's wiki page (as you do) and sent me this

and i lost my shit bc it just seems like they're looking at him like girls look at a weird bug

[lotus-pear]

mourning black and the death of ideals

[dykedvonte]

I think about the fact Anya locking herself in the infirmary with Curly to kill herself and how it is in way reclaiming a space that was initially hers from Jimmy.

Not to mention how she must've been aware of Jimmy's obsession with Curly and the idea that he would lose his power over the both of them (based on the fact she likely thought they would never get the door open) and having to face the responsibility of two deaths being on his hands as acting captain.

It was her final act of agency stuck on that ship with her abuser and it says something that she chose to die next to Curly, despite his inaction, leaned against him as if they were just in a casual conversation before her death. Despite everything, Anya made the final decision on her own terms and it speaks volumes considering her treatment and demeanor up until that point.

[starry-bi-sky]

Blood Blossom Au: Baby's First Commissioner Meeting :)

TL:DR This Post: Danny (orphan) gets poisoned with blood blossom extract by Vlad. He runs away from him and ends up under the care of one Pre-Robin Battinson Batman! Starry is loudly pushing her batdad agenda.

(Also known as "Late At Night, When The Nightingale Sings" on my ao3!)

This was a fun rough idea I've been sitting on for weeks, thinking about how Commissioner Gordon and Nightingale's first meeting might go.

---------------

Commissioner Gordon likes to think that he's adjusting to the new normal of Gotham very well, -- the new normal being grown men running around dressed like bats, in military-grade strength body armor, committing acts of vigilantism, -- and slowly, little by little, he was no longer being surprised when this new normal pops up out of the shadows like the world's most terrifying daisy. His shaving lifespan thanks him for it.

....

The kid is a surprise though.

Granted, he seemed to be a surprise to the Bat too.

There's been a string of murders lately, -- which, in Gotham, is kind of like saying there's been another storm during monsoon season. And there's just been another; in some dilapidated building down in south Gotham, with the broken, boarded-up windows and mildew-crawling walls to match. The victim is a man in his thirties, multiple gunshot wounds to the chest, left in the center of the room for the blood to pool out around him.

The place is already secured when he arrives, the building swarmed with officers and the forensic detectives. The Bat emerges shortly after he does -- or, he might've been here the whole time, hiding someplace dark and shadowy. For his own sanity, Gordon doesn't think about it too hard.

The kid is a surprise, and he appears like a bolt of lightning.

He shows up in the middle of a conversation Gordon is having with the Bat.

A whistle, sharp and loud, slicing through the air, meant for open air rather than a confined space. Gordon's ears pierce and protest the sound, and the solemn, murmured chatter floating through the room abruptly cuts off like the swing of a gavel. As he turns towards the sound -- as they all do -- he swears, up and down, that he sees Batman's shoulders jump, just slightly.

At the source, perched on the window, is a boy. A boy in a gray-blue scarf and an oversized black hoodie, one that hangs off his frame and has ace bandages wrapped around the wrists in some attempt to cinch the sleeves. The hood is up, big like the rest of it, and threatens to swallow the upper half of the boy's face whole in the fabric. What upper half Gordon can see, is smeared with some kind of opaque, black face paint. He's holding onto the side of the frame with one hand, on his hip is a grappling hook. A familiar grappling hook.

Gordon has multiple questions, and his officers tense up.

Martinez puffs up, brows furrowing as his face shapes into a frown. Shoulders rolling back. "You can't be here, kid--"

The reaction is immediate, like a spark to gunpowder, the boy yanks his fingers from his mouth and his mouth twists into a scowl. Head snapping over to Officer Martinez, his hood manages to stay on but Gordon swears that as he bares his teeth, the glint makes them look sharper than they should be. His voice is rasp and quiet and harsh; snappish in its hissing; "Put a fuckin sock in it, Martinez. I'm not stayin."

Martinez reels back, and the boy immediately veers his attention off him. Like a switch, his demeanor drops. Despite half his face being covered, his mouth twists into a cringing, apologetic smile. Slanted and off-beat, embarrassed. It'd be disarming if this wasn't Gotham, and if he didn't just hiss at Martinez like he was about to bite his head off.

"Sorry." He whispers, voice deceptively polite and softer now. Gordon has to strain his ears to hear him. "I was looking for him."

He points his finger towards-- Gordon? No, Gordon follows the direction, and finds himself looking at -- the Bat.

The Bat, who always looks stiff as a pole, now looks even stiffer. Somehow. Well, the explains the grappling hook attached to the boy's waist.

"What are you doing here?" The Bat says, gruff and unable to completely smother the stumble of surprise in his tone.

The boy still holds a sheepish smile, and slips off the window ledge. His feet hit the creaky boards with a near-silent thud, the Batman finds his feet and rapidly begins crossing the room.

Gordon notes the slight tremble in the boy's legs as he straightens. He adjusts his scarf, which droops close to his knees now that he's standing, and slings a backpack -- how long has had that? -- off his shoulders. When the Bat reaches his side, he does as he always does, and looms over the boy like a spectre. A threatening mass of shadows cloaked in all-consuming black. Standing next to him, the boy looks teeny in comparison.

The Bat is a man who terrifies even the most hardened criminals, Gordon has seen grown men shiver in fear at the mention of his name. And yet when the boy looks up at him, he doesn't even flinch.

Instead, his sheepish smile melts away like ice under the sun, holding only traces of his previous embarrassment. It remains as a shadow on his face, a small upturn at the corners of his mouth. The boy pushes his hood back just enough to reveal glinting, ice-flint eyes surrounded in tar-black face paint. He holds the backpack up with one arm. "You forgot this."

[bixels]

The Ryoko Kui interview's reception is such a disaster over a pretty normal (yet still flawed) interview between a non-Japanese fan and Japanese artistic. This is discourse for discourse's sake, and it's no surprise that almost every Twitter user I've looked at who's using this interview to parade Kui around as a goated mangaka standing strong against Western ideology is anti-trans.

Like, I do think the interview was kinda wonky with its focus on fandom culture, which Kui clearly didn't have much interest in. But sometimes that happens. Sometimes interactions between two people, especially a fan and a creator, two people who view and interact with a piece of media in completely opposite perspectives, don't click. Does this really need to get blown up into a "West vs. East culture war" issue.

Anyways, Kui saying "I don't consider my audience's interpretations when writing. I leave it to their imaginations, but I have my own read on things too" is the healthiest, most normal thing an artist/writer who wants a non-parasocial audience could say. Artists and writers use this line all the time. If Kui didn't enjoy autistic Laius or Farcille headcanons, she would have probably voiced/signalled her discomfort, like she did on the topic of Senshi fanservice. Overall, Kui handled the interview really well. Props to her to sticking to her guns and keeping a healthy disconnect from the fandom. While I think the interviewer could've/should've been more tactful and restrained, the flaws in their questions is not a symptom of the woke mind virus trying to wriggle its way into the pure Japanese psyche. It's the sign of an over-eager fan who sees a piece of fiction differently than its creator.

[beastlyidiocy]

Feuċ, súile Dé go fuireaċ air

[poorly-drawn-mdzs]

Let the revenge games begin.

[First] Prev <–-> Next

[heartorbit]

so when's the wxs phantom of the opera set

[stillwaterinc]

i have nowhere to put my batman thoughts so they’re going here

jason comes back as the red hood, planning to take out his little replacement or at least hurt him bad enough that he drops the suit and lets robin die but suddenly, a month before his plan is to start, robin disappears. and so does the joker.

what? jason looks, he scours security cameras and internet forums, even weasels his was into the gcpd’s files and…

nothing. there’s nothing.

no bodies reported, joker’s not in arkham or black gate or any other prison, he hasn’t finally been given the death penalty he just. disappeared.

he can’t find anything on robin either, or tim drake, for months until he stumbles upon a nearly perfect patient file in some hospital records.

nearly. it’d be perfect to anyone else but jason, even years later, can recognize bruce and barbara’s finger prints all over it. it’s a cover. a cover for what though? he reads through the file, tim drake’s file, presumably and finds… well.

someone clearly tortured the kid, and with the meds he was being prescribed it got to him. it would’ve gotten to anyone.

jason shudders reading the initial injury report. electric burns, lots of them, are what catches his eye the most but there’s all kinds of stuff. what catches his eye the most though is the lacerations that had to be stitched either side of the kid’s mouth. shit.

he doesn’t get the full picture, not yet, but pieces are starting to come together. the joker has been missing for a while, just a little longer than jason’s replacement has been in the hospital for some violent injuries.

the joker is missing.

tim drake is in the hospital.

something happened, clearly. the joker did something to tim, something awful, something bad enough that the joker disappeared and the kid’s been in the hospital for weeks.

bruce didn’t make it in time, only this time robin wasn’t dead, he’d been broken.

someone had gotten to robin, to tim drake, before jason could, had gotten to him so badly that even after he was released he wasn’t robin anymore.

not because he didn’t want to be, a few bugs here and there in the manor let him know that much, but because bruce wouldn’t let him.

it comes out, in one of these arguments, that time killed the joker. shot him dead. and jason almost wants to congratulate the kid for it, or wants to strangle bruce and ask him how the hell he let robin, who’s just a kid, tim, who’s just a fucking kid, get anywhere near a position where he had the means and desire to fatally shoot the joker.

because that’s it, isn’t it? the reason jason’s like this, doing this, is because of the joker. jason knows how to use guns because of the joker. he’ll never go to college like a normal kid because of the joker. and now tim.

tim wants to be robin, asks for it, begs bruce to let him back out in the suit and jason nearly finds himself agreeing with bruce. the joker’s gone sure but what if someone else tries the same thing? what if someone tries worse? being in the suit’s already gotten tim this much pain, why risk more?

it hits jason, one night, that he stopped being angry at tim a while ago. a long while. he can’t be angry at bruce either, because the joker is dead. there’s no one to enact vengeance for his death on anymore.

anyways most of my posts are about incest please don’t follow me for batman content

[teshiee]

i did not think this out much...at all, but drawing it was a lotta fun!

also i almost made lloyd veronica but i changed it to nya before i even started working on the. actual heather trio so yay!!

[ganondoodle]

master koga propaganda

[pleaseinsertwittyurl]

There are always 2 sides.

The discourse around Louis and Lestat being a victim and abuser and nothing more drives me insane.

Something i don't think enough people remember is that the very same reason the fight began in 1×05 (lestat grabbing claudia by the throat when she tries to "take louis away") we see Louis himself do to her in 1×07 when she tries to get Louis to burn Lestat.

They BOTH would harm her rather than live in a world without the other. They are both guilty of abusing her and each other.

There is an implication that a good deal of time passed between Louis and Lestat meeting and the church. Louis expresses that he shares himself with Lestat in a way he only had with Paul. I would assume that goes both ways, to a degree. We know Louis knows at least enough about Nicki to discourage Claudia poking that wound. He also clearly knows that the threat of leaving is his most powerful weapon against Lestat.

Mental abuse is abuse. And Louis abused Lestat mentally for years. Shaming him, ridiculing him, shutting him out, manipulating him into making Claudia (a traumatic moment for him, whether Louis understands the depths of it or not) by promising to give him what he's being denying him, promising to never put him through what he fears the most.

Louis admits to purposely making Lestat suffer. He admits he was warned that Claudia would suffer and he wanted her anyway because he needed to feel redeemed. He is not innocent. He is not a trapped, weak victim. He made choices to hurt both Lestat and Claudia time and time again.

Does this justify Lestat's actions in 1×05? Obviously not. But we now know Louis was not willing to stop the fight. He taunted Lestat the same way he taunted the Alderman. He was unleashing years of frustrations just as Lestat was. His priority was not to protect Claudia, it was to hurt Lestat, consequences be damned.

I hate the drop scene as much as the next person and Lestat has admitted he will never earn forgiveness for what he did. But if you view Louis as some squeaky clean victim who was manipulated, trapped, and abused by Lestat you are missing so much of what this show is conveying.

We will always tend to paint ourselves as the hero of our own story. It is hard to accept your faults or that you hurt people you love. It is much easier to shift that blame on to someone else, to frame them as the villian. But life is not usually that black and white. Claudia had harsh words for them both in her diary, even before they got to Europe, for a reason. They both made hurtful mistakes with her, both treated her like a pawn in their relationship instead of a person, both harmed her, took away her choice, never prioritized her.

That is the great tragedy. That she never had a choice and was not allowed to be her own person. And in the end, they both are responsible for her misery and her death. That's what makes the reunion scene so important. They have been grieving her and carrying that guilt alone, all the while longing for the comfort of the other for 70+ years. Louis has found clarity in his memories, he has accepted his role in their suffering, he has seen Lestat's perspective more fully. Lestat is broken, totally consumed with that guilt and grief. Both know that although they cannot change what they've done, they can forgive the other, even if they can't forgive themselves. They can love each other despite everything they've done to one another because they cannot stop loving each other. But now they can try to rebuild that love from the rubble.