#also I think this would be my first real attempt at a comic

[aweebshitdrawings]

@babyblankyerror, well I went a bit overboard with this….I REGRET NOTHING lol

Love this murderous puppy

[huginsmemory]

Ford's Dreams; Attraction and Asexuality

In Bill's quips in TBOB on what the characters dream about, the quip he had on Ford caught my eye: "Sixer dreams about a pop quiz that asks him "what are you attracted to?" He usually writes "I'm attracted to logic and preparation." Not sure what to call that! Plansexual?". Immediately upon reading it, it made me question the implicit meanings of that small blurb, on Ford's sexuality (as someone whose aroace) and on the potential reason why such a dream was reoccurring, which I've explored below:

Extra addition added (Jan 6 2025)!

The first of two pages in TBOB on Bill's quips on characters dreams; this page includes Ford's, Dippers, Mabel's and Wendy's dream comments.

First of all, there are two types of quips Bill makes about the characters dreams. First, and the main type of comment, are negatively connotated, generally close to or even are nightmares. Dipper, about over hearing his parents fight about divorce, Mabel who has nightmares about waddles dying, Wendy who dreams about her Mom, who died, Stan's about Ford getting stuck in his science fair experiment, and Pacifica about the lumberjack ghost and blood that doesn't wash off her hands. Most of these are things that play off subconscious or conscious fears or grief (or memories in relation to fear or grief). The second type of quip, are goofs; such as Robbie's real hair colour, or Blubs and Durland only dreaming about each other (both on the other page, not depicted). So where does Ford's comment for in? At first glance, Ford's dream quip somewhat comes out as a goof (especially considering the horrible things he's gone through and seen). But for a central, serious character, and considering the context of the book, I really don't think this is a goof, but more of the first type of quip, on darker/nightmare sort of dreams.

But if it's is a nightmare, then why would a pop quiz about what he's attracted to be nightmare material?

First of all, regarding the set up of the dream, a quiz explicitly implies that you are being judged on your answer. There is a rubric for right or wrong answers, and someone, in a higher position of power, often in an academic institution, judges you by this. Ford is a character that's been clearly driven for the good first half of his life by excellency in academic achievement, and this implies that it's very important to him to get the quiz correct, to have the right answer, and that he fears being wrong.

Now on the subject matter of what the quiz entails; the subject of romance and attraction. Regarding canon, romance isn't one we get particularly clear images on with Ford, compared to Stan who flirts and literally goes out on a date during the series. We only really ever get two direct human interactions that could be implied to be considered romantic in nature (sorry fiddauthor's, there isn't anything from Ford's side of things that imply any extra feelings beyond cherished friend; Fiddleford in the other hand...). These are when he speaks to a girl at a dance and gets juice thrown on him, and in Journal 3 on the page that decodes on the page about himself to "LITTLE CATHY WHAT A DREAM HELD HER HAND AND MADE HER SCREAM". (There is also technically the one throw away line about Ford dating a siren in one of the Lost Legends comics, which would be the only time we know of Ford actually being in a romantic relationship; but that's something that never gets elaborated on, and when Dipper says that he's literally reading from the Bill page from Journal 3, so I'm unsure on the weight of such a statement). Compulsory heteronormativity aside as demanded by censors, both the implied attempts don't go well, and in the second one it directly implies Ford's six fingers are directly part of the reason why he's undesirable. Ford clearly deeply struggles with belonging around his 'weirdness'; case in point with the whole page about it in Journal 3. In this case, his bad luck in romance as a teen, possibly as a result of his 'wierdness', continues to alienate him from other people. As a result, a quiz focusing on romance may further remind Ford about his 'wrongness' as he doesn't have the socially expected romantic relationship.

Stanford's author pages in journal 3. The cipher on the right page decodes to what is described in the paragraph above. Note his emphasis on feeling alienated.

However, what's perhaps more telling about it is that the quiz asks what are you attracted too?, which is more sexual than really romantic in nature. And it's telling because what Ford puts down is logic and preparation. These aren't physical attributes as one may assume to answer these questions; neither is it gendered, or even really based on a person, but rather left open as the concepts (ie, he doesn't say someone who is logical and well-prepared). This Bill even jokes about, with 'plan-sexual'. And Ford's answer is not a typical 'male' answer (in the toxic sense, but also, just generally, since people experience sexual attraction) which Bill also notes with the joke. This 'incorrect' answer could be construed as another thing that's wrong with him, especially back in the day; emphasizing again Ford's wrong-ness and alienation.

Not to mention, beyond those two instances described above (interestingly, these occur previous to Ford's falling out with Stan, in which after he highly prioritizes academic achievement) Ford shows no interest in romantic relationships. This disinterest in pursuing romance is contrary to a lot of people who are still workaholics who have significant others/hook-up on the weekend in their meager time off. Ford's general disinterest in romance is also something that others him, with how our society puts so much emphasis on romantic and sexual relationships. And this is something that IMMEDIATELY caught my eye as someone whose within the general ballpark of aroace; there is a huge amount of alienation from society when you are disinterested in sexual/romantic relationships. Especially when toxic masculinity expects you to constantly be horny. So having someone ask you that question of what you are attracted too is awkward, and depending on the audience, socially difficult question to field. And often an answer to that comes out sounding exactly like Ford's, based on personality rather than physical attributes, if you don't decide to come out (not that Ford would know queer jargon anyways). So this question, posed in a quiz, with Ford being quite Ace-coded, would bring up these feelings of alienation, along with those about failure on not having the right 'answer' regarding attractiveness and the failure of not having a girlfriend.

The infamous Billford page in TBOB, of 'one thing led to another'. Also note Ford saying that Bill's "really got it all figured out".

Now, beyond that, we're also reading this in the context of TBOB. Even before the new info in TBOB, Ford openly worshipped Bill; and in TBOB it becomes clear that they certainly had something going on between them (cough, one thing lead to another, cough). This suggests that Ford found Bill attractive in some form of attraction, whether romantic, sexual or queer-platonic-ish. This especially so, considering the answer Ford puts down; logic and preparation. Bill, who corrected and furthered Ford's knowledge, who came to him as a being of pure knowledge (logic), and who helped him plan the portal, who ironically also had other plans of world domination beyond that (preparation). Bill fits the description, even if he's not human, but Ford's not bothered by that, Ford's a freak himself and it's clear in finding that acceptance he's ecstatic (freak4freak). And that attraction, that care Ford had/has for Bill? Now that's something that's horrifying, something that's filled with guilt, terror, and also embarrassment and fear of how others will react; case in point with Ford literally ripping those journal pages out so the others don't know about the extent of his and Bill's relationship, and in TBOB he acknowledges that. And that's not to mention the potential additives of negative emotions from failing to have attraction for the right person, from failing to meet toxic masculinity standards, and the emphasis of being a freak that made him fall for Bill. Now that's emotionally negatively charged for a fucking nightmare.

Like. Fuck. What are you attracted too? The being that I thought was a god of pure knowledge and thought that strung me along like a fish on line with bait of knowledge and companionship, and I ate that bait, hook, line, and sinker, so deep within my belly I fell in love with him; the being that betrayed me, that wants to destroy my world and used me to do it. The being I shouldn't even love in the first place, because you're supposed to love what's normal, but I've never been able to do that as a freak show. The being I've spent half my life hunting down to kill. And now here I am, with this fucking mess of my own making, after threats and torture and the world ending, and some small fucking part of me still loves him.

So, yeah. I don't think that's just a comedy line. I think that's a line that potentially has way more about Ford's feelings of alienation, of his failure to be attracted to the right person, of guilt and fear around his relationship with Bill, and especially so of others perceiving it.

EDIT (05/01/2025): Also for your consideration, as mentioned in the tags by @vespertin-y and @5p4ced-0ut, these DIRECT QUOTES BY FORD IN TBOB. ABOUT WHY ONE WOULD MAKE A DEAL WITH BILL.

All the scenarios listed by Ford apply to himself;

You're at a desperate low? Failing to find, or prove the universal weirdness theorum; but really, truly beneath that, being basically completely alone for all the years since college, and being desperately lonely and seeking affection and acceptance.

Lost something dear to you? A bit more abstract, but Ford's alone, and he's alone because he chose to lose Stan, to seek acceptance through academic achievement. And it's his loneliness that truly drives him to Bill; not academic achievement, even if that's part of the reason. He's trying to fill that void of love and acceptance thats been there since Stan left. That's something that's dear to him that he's lost. Although it could also just be a nod to Bill's magic, in that he can use it to fulfill things.

Throes of all-consuming monomaniacal ambition? Do I need to say anything about this? Ford caused the apocalypse (partly) out of his ambition.

Now of course these all lead up to the very last one: or perhaps you're just attracted to things that hurt you? This heavily implies Ford's felt, as I outlined above, some sort of attraction to Bill.

It's also a strong thing to say about their relationship. What's interesting about this one, is that at the beginning, their relationship wasn't a painful relationship for Ford; codependent as fuck, sure, but no one was actively hurting the other. It wasn't until they began to become jealous and petty with each other when Fiddleford began working that there is resentment and emotional pain, and then there's the big reveal, and all there is of their relationship for Ford is emotional pain and betrayal. In that manner, he wasn't originally attracted to Bill because of masochism in the literal sense; but rather due to rather an attraction built on genuine connection and companionship that ultimately ended horribly.

So basically, the 'attracted to someone that hurts you', is another line that falls under the heavy implication that Ford felt some sort of attraction to Bill; and that Ford struggles with shame and guilt around his attraction to Bill, especially as the comment is actually a lie (a common abuse victim lie) that minimizes their relationship, especially from Bill's side.

But he still says the sentence. So why is he lying/believing he's telling the truth? That comes down to what he's trying to diminish, and the guilt he has around attraction. The sentence, written of course post series when Ford is deeply jaded about Bill and his relationship, is written in a deeply bitter way. And it's a very self-directedly bitter way! Of course the being I fall in love with ends up betraying and hurting me; I never can do anything correctly. By saying that 'he's attracted to pain', he implicitly within the statement blames himself for the abuse, construing it as some way inevitable that this would occur due to his 'wrong' nature, especially around attraction as evident above. This self-blame and 'inevitability' is actually common to those who have low self-esteem and are victims of abuse, which Ford is. Ford already is shown to feel guilt and shame around his attraction to Bill for various reasons, such as the failure to be attracted to the right being, and doubly so with it ending up being an abusive relationship. This self-blame of 'i'm attracted to pain' denies that Ford was seeking genuine connection, and found it in Bill; it construes Bill as always having hurt Ford. Which is untrue! But this does function as a way to suppresses Ford's possible remaining positive emotions he has around Bill (by demonizing him as something horrible, understandable as he's been trying to kill him for 30 years) and also provides Ford an illusion of power over the situation; of course I had and remained in a relationship with Bill because I enjoy pain. It's easier to say (and delude yourself you like it, and you abuser may even encourage that, to avoid the pain) then admit you don't know how to escape, or fear escaping. And I think Ford did just that.

(Also, side note: What's also a kicker is that we are creatures of habit. So relationship dynamics we grow up in, are often ones we tend re-create later in life, because those are dynamics we are comfortable in, even if they are terrible dynamics. But that doesn't mean that it will always, nor have to be recreated. In some way, Ford did this; he recreated a dynamic from his father, in always looking up to Bill, and requiring praise from him to support his self esteem.)

Also, contextually, this negative recount of Bill makes sense as it's functioning as a warning for the reader within the page; informing the reader that no matter what, Bill will hurt you if you make a deal. This embarrassment and shame about Bill is contrary to some readings, in which Ford confesses to having cared about Bill; but this page is early in TBOB! It's before the pages all the rest of the family put in; it's possible this page was added 'before' the rest of the family read TBOB and Ford comes to acceptance with his feelings around Bill.

[welcometohellfilm]

Congrats to everyone who has been working on W2H2! 🎉 If it's alright, I'd like to ask to ask 2 questions:

Is there by chance an official ref of colors for Debbie, or is it still up to interpretation at the moment?

Would you say that your personal, real life experiences within the 10 years moving from W2H to W2H2 shifted the tone/story of the series in some way? Something that I've always been fascinated with when I started looking more into W2H was the shift in Sock's character from the original comic -> first film -> second film, and Jonathan's character from the first film -> second film.

Thank you! ✨

I actually just made some 'official'-ish colors for Debbie! Her voice actor Kaitlyn wanted something to use on a banner for conventions haha... so here you go!

2. I'm not really sure how to answer this one, haha. I mean I've definitely changed as a person over the course of making each iteration of W2H. I started the comic while I was at community college, before I went to art school. I adapted it into an animation for my graduation project. And I started W2H2 a couple years after I graduated college. So there's a good 2-3 years between each attempt at W2H I've done, haha. I think a lot of my original ideas from the comic had to change because it needed to be condensed into a short film. I didn't even GET to Jonathan yet in the comic! Some things just didn't make sense to me anymore, like the idea of Sock already having a human body count. It'd just be absurd for him to be able to hide it for so long! Plus, if I made it so that Sock has only ever entertained the idea of murder, it makes his new job that much more appealing-- it's a chance for him to really lean in to this thing he's always had to hide. Between the first and second films though, I mean... I think there's been some tonal shift, for sure (I don't know about a character shift? We'll get to that haha) But basically, when I was first thinking about W2H2, my idea was "Sock and Jonathan hang out and attempt to figure out touch physics, also there's some drama about a journal Jonathan keeps." All of the hell stuff is something that came from bouncing ideas around with my friends, Michael and Neil. I was worried that sending Jonathan to hell would be too bonkers for a "2nd episode", but we all kinda agreed that enough time had passed that the fans would probably enjoy something higher stakes, so it would be fine. (I'll give everyone a moment to realize this conversation would've been happening in 2015-16... ha.)

We also kind of thought, y'know... I have no idea how many more of these there's even gonna' be, so why not go a little bigger with this one? W2H2 is a higher stakes story than what I set out to make in the beginning, that's for sure. It is interesting to compare all of them.. the employee handbook was actually from the comic and I cut that because it wasn't helpful for W2H... but then it became helpful for W2H2, so it came back! Haha. I'm curious to know in what ways people think the characters have changed though. (And is that a good thing or a bad thing?) Especially a character like Jonathan, no one's really even seen that much of him yet, I think most of the characterization comes from fandom, or like... art I've drawn, I guess? Haha... I'm not sure! I guess Sock's a little more confident and antagonistic in this one (though he'll have his moments of hesitation... we're only at Part 1 right now!), and Jonathan has had to become a more vocal/active character, just by nature of the kind of story it is, I suppose. But yeah, I'm not sure! Happy to hear your guys' thoughts though!

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.3)

go check out part 1 and part 2 if you'd like! this is a long one, sorry guys.

if you haven't already i'd recommend you check out pt. 1 & pt. 2 (linked above), but if you haven't checked them out i've been going over some of the main things people have been criticizing ba's characterization for: 1. the typical boiling down of jason's character to "the angry one" 2. his lack of strategy going into the fight with the demon is out-of-character 3. the neighbor's kid interaction

alright, so this last point is purely based off of one page of the entire comic: the one where the child of one of jason's neighbors is dragged inside his home when his mother see's jason coming.

first off, i love this page. it might be my favorite page in the entire issue. everything about it is great. just thought i needed to say that.

anyway, there's some people who are seeing this page and reading it as "jason protects kids! that's one of his big things! why are they scared of him?"

here's the thing, though: the kid isn't scared of jason, the mom is. the kid is literally playing dress up as the red hood-- he's not scared of jason, if anything he's trying to replicate him. little kids dress up as their heroes all the time; why is this kid any different? it doesn't really make sense for the kid to dress up of something he's scared of (not everyone is as weird bruce wayne), especially a real person that could be a real threat rather than a concept. i doubt you see many kids in gotham dressing up as the joker or something, because that's just asking for trouble.

the dress-up honestly seems like a ploy for attention to me. the kid clearly knows that red hood lives in his building (which is honestly so funny. take off the mask jason you're giving you're position away (actually this is a really good instance for analysis but i'm determined to not go on a tangent)). if the kid knows red hood lives in his building, what better way to get his attention that dressing up as him and playing pretend? if the kid was scared of him, he wouldn't want to draw that sort of attention to himself. if he had a sort of hero-worshippy thing going on like i suspect, then he would want to get jason's attention. to sum it up,

it's the mom who pulls him away when jason nears, because she either a) perceives him as a threat, b) doesn't want her kid to try and replicate him even more, or, the most likely option, both! the kid isn't scared of him, but the mother believes they should be.

once again, we come back to the whole perception vs. reality theme i talked about in part one! we've come full circle, everyone!

when looking at the neighborhood's perspective of the red hood, ba gives us a few contradictory examples. there's the kid and the mother, obviously, but there's also a slew of other citizens who interact with him at the beginning of the issue, both in fear and camaraderie.

the unhoused man and the people outside of his building clearly have a familiarity and are comfortable with him, while the shopkeeper is terrified and literally has a banned poster on his wall featuring jason (i am so curious what he did to deserve that, if he even did anything at all). from this, it appears that jason's reputation teeters between fearful and familiar-- a sentiment that also colors jason's relationship with his family.

furthermore, this concept underscores just how lonely jason is-- one of the only good relationships he had in his current life was his fucking landlord, for gods sake, and he's dead.

i think it's important to note that jason doesn't respond to the friendly greetings from the men-- he could attempt to build camaraderie, the roots are there, but he chooses not to. he could work to try and show the mother that her son is safe with him, but he chooses not to. why? jason is obviously lonely (as ba states in the panel below) and he caves pretty easily when damian asks him for help (both of them are so desperate for human interaction its tragic). so why does he distant himself from the community?

obviously it is in part due to the vigilante lifestyle, but it is also jason's perception of himself and how he believes others perceive him, especially in regards to his family (ba is literally hitting readers in the head with that theme baseball bat).

he doesn't see that the kid with the mask looks up to him, all he sees is the mother pulling him away. he sees the banned poster in the store. and, as ba narrates, "he was sure he'd been forgotten about" by his family. utrh is jason's twisted way of attempting to reach out and connect with bruce, and obviously that doesn't work-- so he chooses loneliness over rejection.

like in part one, though, damian refutes this idea by describing bruce's perspective, showing how what jason believes differs from actuality. bruce hasn't forgotten about him and doesn't hate him, as he suspected, but instead harbors guilt over the situation and desires to make it better, which jason must come to understand to be able to open the locked door and begin to move past his trauma.

so, that's what the little kid in the red hood outfit looks like to me. i actually have a lot more i'd like to say about the boy wonder, especially in regards to the whole "door to my past life" thing and what ba does with lighting and blocking in his artwork, so i may do a little post on that as well! i was gonna try and shove it into this one, but i've run out of room! i hope you guys liked my analysis, if you'd like to chat about the boy wonder or any other comics, my dms, asks, and reblogs are happily open! thanks for reading! :)) <3

pt. 1 / pt. 2

[evilkitten3]

@the-real-sasuke-uchiha that's fair!

my theory is that one day after passing on the hat he walked into the forest of death and didn't come back out again (that's why it got that name) and no one ever really knew the specifics. if it was too wildly pathetic there'd be stories no matter how hard people tried to suppress it. i think he died alone in the woods talking to what may or may not have been a hallucination of the best friend he killed

it's interesting to experiment with ideas about how hashirama actually died but imo the way hashirama tells his story in volume 65 says so much more about who he was at the end of his life than anything canon could've shown us. i think leaving it up in the air was the right call

[rhys-writes-some-shit]

The Dilemma of a Rubber Duck

Alastor x Reader (Queer-Platonic) ft. Bestie Lucifer

(TW: Mentions of depression, mentions of suicide attempts)

You knew Alastor didn’t like Lucifer. You weren’t 100% sure why, only that the King of Hell really got on Alastor’s nerves. Ever since Lucifer had moved into the hotel in the aftermath of the battle with the angels, Alastor had spent hours ranting and raving to you about him. They were constantly trying to one-up each other. It was comical, really.

Except that you were stuck in the middle of it. 

Unlike Alastor, you and Lucifer had hit it off right away, getting along like two peas in a pod. There was a certain camaraderie that came with being clinically depressed and still having to force a smile, which both you and Lucifer were experts at. Many late nights had been spent exchanging stories and finding humor in things other people might not otherwise find humorous. 

(“I tried to kill myself twice, and then end up getting hit by a car! That’s how I end up in Hell? What did I do all that work for?” That was the first time that story had been met with laughter, and that was when you knew Lucifer was a good guy.)

You were constantly thinking about how Alastor would react to knowing you enjoyed hanging out with Lucifer, or vice versa. It worried you to no end, so you tried to keep your friendship with Lucifer under wraps, for Alastor’s sake. He needed someone to back him up, and you wanted to be that person. You wanted Alastor to know he could trust you.

One evening, you and Lucifer were talking in the parlor, drinking tea. Alastor was out for a fancy Overlord meeting, so you were able to relax a bit. 

“I’m so glad we have Niffty around,” you were saying. “Sometimes I just can’t find the energy to do my laundry, but I know that if I leave it on the floor, she’ll take care of it right away.” You thought for a moment. “It’s not like I’m forcing her to do it. Or taking advantage of her. Right?”

“Nah, I thought cleaning was her job,” Lucifer reassured. “My loophole with that is all my outfits are the same. Also magic. Magic is very helpful.”

“Man, I’m jealous!” You gave a lighthearted groan. “I wish I could have magic like that.”

“Who’s saying you can’t?” Lucifer shrugged, sipping at his tea. 

You snorted. “Have you seen me? Do I look like Overlord material to you?”

“I didn’t think Mr. Crimson Asshole was an Overlord, so looks aren’t everything.” Lucifer hesitated. “Oh, shit, I shouldn’t have said it like that. You two are like, dating, right?”

You made a ‘fifty-fifty’ gesture with your hand. “Eh… Not really? It’s like… a mutual relationship. Neither of us are the ‘dating’ type, so we just kind of… vibe. But it’s fine, I get it. You should hear the things he says about you.”

“Oh?” Lucifer leaned forward, curious. You mimed zipping your lips, grinning playfully. “Alrighty then, keep your secrets.”

The feeling of guilt you’d been getting used to returned, but you smiled past it. If there was anything Alastor taught you, it was that you could hide everyone behind a smile. And it worked, for the most part. The only person who’d ever been able to see though it was Alastor himself. Similarly, you were the only person able to see through his ever-present smile.

Setting his cup down, Lucifer waited for a lull in the conversation. “Before I forget, I have something for you.” With a wave of his hand, a little yellow rubber duck appeared in his palm. Its features and markings made it resemble you. 

Eyes wide, you carefully took the duck from his hands like it were an actual duckling.

“This one doesn’t breathe fire or anything, but…” Lucifer paused, like he was struggling for words. “I haven't had a real friend in… a really long time. S-so I wanted to thank you. For that.”

You were at a loss for words. The only other person to get you gifts since you’d died had been Alastor. That feeling of guilt hit you like a train, but it was masked with a bright, grateful smile.

“Lucifer, I… I’m honored. Thank you.” You struggled to tear your eyes away from the duck. “Can I hug you?”

Instead of replying, Lucifer pulled you out of your chair, hugging you close. You matched it, hoping your appreciation for his existence was properly conveyed.

“Ahem.”

You and Lucifer pushed each other apart like a teenage couple caught making out. Alastor was standing in the entrance to the parlor, teeth bared. His grin was sharp, borderline violent, and his eyes were narrowed. 

“Al,” you tried, but no other words followed.

Then Alastor sighed, and the murderous look in his eyes disappeared. You were still holding the duck Lucifer had given you. Looking down, you realized you were shaking, and felt a little faint. 

You stumbled back, right into Alastor’s arms. Head spinning, you allowed him to set you down on the chair. Alastor kept a hand on your arm, watching your every movement with surgical focus. He knew, you realized. He knew how guilty you felt, how much anxiety it was causing you. How long he’d known, you had no idea, but you could feel it in the way he wouldn’t let you go. You didn’t want him to let you go. 

“Are you okay?” Lucifer looked frantic, obviously worried. “Do you need water? Something to eat? Medicine? I’m sure there’s some around here somewhere, if you just give me a minute—”

“I’m fine,” you interrupted, trying to muster a smile. You failed. How Alastor held his grin all day, every day, was a mystery to you. “Well, okay, maybe not fine.”

“They could use water,” Alastor provided, only a slight edge in his voice. Nodding, Lucifer ran off to get a glass of water, leaving you and Alastor alone in the parlor. 

Alastor was silent for a moment. You could tell he was trying to figure out what to say. “I apologize for not noticing your anxiety sooner.” A little joy fluttered in your chest. Alastor enjoyed watching everyone’s suffering—everyone except for you.

“It’s not your fault,” you told him. “I should’ve been more upfront. I just…” You were still a little shaky. Alastor’s hand moved so it rested over your hand. The rubber duck was still in your other hand, and you turned it over with your fingers, fidgeting with it. “I didn’t want you to leave me.”

“Now that is nonsense if I ever heard any!” Alastor laughed. “What a ridiculous sentiment, my dear. It would take more than that to take me from you, I assure you.”

“But I know how much you hate him.” You looked towards the direction Lucifer had gone. “You hate that he’s here. You hate that he’s meddling. And this is just another reason to hate him.”

Alastor was contemplating his words again when Lucifer came back. He gently handed you the glass of water, causing you to have to put your duck down. Alastor was right to ask for it—the water helped. The air was tense as Lucifer and Alastor glared at one another while also keeping an eye on you. 

“When you are happy, I am happy,” Alastor said out of the blue. Both you and Lucifer looked to him for clarification. “If talking with Lucifer makes you happy…” Alastor swallowed, gritting his teeth, glowering deeply at Lucifer, “then, by that logic, it makes me happy.”

“Hey, same here.” Lucifer put his arms up symbolically. “I’m not gonna leave my friend just because I hate their boyfriend– er, whatever you are, that is.”

“Partner,” you and Alastor said in unison.

“Right. That.” 

The air was still tense, but it made you feel better knowing that Alastor and Lucifer wouldn’t be fighting over you, at the very least. 

“Okay,” you said suddenly, having finished your water. “I’m going to bed. Thanks again for the duck, Lucifer.”

You barely heard Alastor growl at Lucifer upon realizing that he’d given you a gift, but it just caused you to smile fondly. Alastor was quick to step in beside you, taking your arm to escort you up to your room. 

“You’re welcome!” Lucifer called back. “But don’t think that just because you and Alastor are partners that I’ll make one for him too!” You had to stifle a laugh. Lucifer was too sweet for his own good, no matter how awkward it made him seem.

You turned so Lucifer could see your grin. “Wouldn’t dream of it.”

[cy-cyborg]

Writing disability: The Super-Crip Trope, and how to avoid falling into it's harmful elements

The "Magical disabled person" or as it's often called in disability circles, the "Super-Crip" is the name of a trope in which a disabled character has some kind of magic or special abilities, which is used to mitigate or erase the impact of their disability. While not a mandatory part of the trope, many super-crip characters are also stronger than their peers, specifically because of their disability's impact on their powers. So why is this trope so unpopular among many disabled people? There's a few reasons. The main one is because more often than not, Super-crips who are written by non-disabled people are often treated as an easy way out of actually having to deal with a character's disability, and a shortcut out of having to do the research into how a disabled character would deal with certain situations. When these writers encounter something they think their disabled character can't do, instead of actually talking to people with the same disability as their character and doing research, they just write that its not a problem because "magic powers go!"

In some cases, but not all, their powers all but erase their disability completely, at least from the perspective of it's relevance to the story. While, to my knowledge, this was never in the comics or movies, A good example of this is a "fan-theory" I've seen among non-disabled X-men fans who claim professor X could use his telepathy to walk, functionally bypassing his spinal injury (Or his leg injury, if we're going off some of the comics' timelines). This would functionally erase his disability, making it an example of both the super-crip trope and the miracle-cure trope.

ID: An image of Professor X from X-men, a white bald man wearing a suit, sitting in a silver wheelchair, and another unknown man in a suit standing beside him, framed by a circular doorway, both their faces are partially obscured by shadow. /end ID]

Another reason this trope is disliked is because writer's often have good intentions when using this trope, but they actually end up undermining the points they were trying to make. Often, super-crips are portrayed as badasses in an attempt to show that "you can still be a hero/useful to the plot and be disabled", but the way they portray it usually implies that disabled people, as they exist in real life, aren't useful unless they have something that compensates for their disability or have impossible powers.

So should super-crips be avoided entirely? Some folks in the community think so, but personally, I don't agree. Despite all of what I've said so far, I think there are ways to write characters who technically fit the definition of a super-crip, without it being harmful. There's an argument to be made that "super-crip" specifically refers to harmful version of the trope, so not everyone will consider characters who aren't part of it, but I do, and I think it's important to discuss both the harm this trope can bring, and how this trope can be used in non-harmful ways. Humans (and creatures with human-level intelligence) are adaptable creatures, and in a world where magic exists and especially in worlds where its common, disabled people will find ways to use it to help themselves. but help is the key word there. So let's talk about some ways you can write super-crips, without it crossing the line into becoming harmful. The following are some things for you to consider about your character's disability, how their magic/powers interacts with it, how they interact with the world (and vice versa) and more:

Are your character's powers an aid or a cure?

The first, and one of the most important things to consider, is if your character's powers function like an aid or piece of assistive tech, or a cure? If you boil it down, is the magic helping them or "fixing" them? This can be a cure in the literal sense, as in giving an amputee the ability to shape-shift to get their limb back, or a functional cure, meaning the power essentially by-passes the disability, like the above mentioned professor-X fan-theory. It's not literally curing him, but it might as well be. In a world where this magic or super-powers exist, it's perfectly natural that a character might use the magic to lessen the impact of their disability, but it shouldn't erase it entirely. Give the magic a trade off, make it imperfect. You character can cummon a magic prosthetic, but there's a time limit on how long it lasts for, or their magic needs to recharge it. A wheelchair using mage might be able to engrave magic runes on their chair that allow them to pass over rough terrain, but only to a certain extent. It might allow them to go up-stairs, but it can only be used so many times per day (and make sure you show the times where they need to get up the stairs, but have run out of uses!) Things like that.

Is the power directly tied to their disability?

Is the power you're giving the character directly tied to their disability? There's 2 ways you could read this, and both should be considered. 1. The power is something you, as the author, gave to them specifically because it would help mitigate their disability (e.g. giving a character without arms telepathy so they can still pick things up/hold things because you couldn't figure out how they would be a badass swordsman without it) or 2. Does this character, in universe, have their power specifically because of their disability? e.g. Did our arm amputee develop telepathy through sheer-force of will because they really wanted to be a swordsman, and their determination manifested as telepathy/A god gave them the powers because they felt bad for them/a wizard taught them how to do it because they were inspired by the person's perseverance? If the answer to the first one was yes, perhaps reconsider and do more research. If the answer to the second one is yes, proceed with a lot of caution. Generally, if the powers originate from someone feeling sorry for your character, being inspired by them or anything to do with their determination and perseverance, I'd recommend changing that. However, if the powers came from your character having to adapt something to to their disability, that is really a case-by-case basis thing. Sometimes it works, sometimes it doesn't. your success with it will depend on the character, the setting and the specifics of how.

Is this power common, or is this character the only person in the cast/only person we see with this ability?

Is the power you're giving your disabled character rare, or even unique? It's fine to give your disabled characters powers that are common within the world, but if they're one of the only people who has that ability (or similar abilities), ESPECIALLY if it directly helps mitigate their disability, you might want to reconsider that choice. In a world where everyone can fly, it would be weird if your wheelchair user couldn't without an explanation. But if no one else in the story can fly except your wheelchair user, it starts looking more like you just gave them that power so you don't have to think about accessibility in your world. If you really must give your disabled character the rare/unique power, consider making another character with a similar disability but no/more common powers so you aren't just avoiding the issue, or making the power not related to/impact their disability directly (e.g. giving your leg amputee super-hearing.)

Does this power solve a wider access issue in your world, or does it just make it easier for your character alone?

As a general rule of thumb, if you are writing a story where you don't want accessibility issues to be a thing (e.g. a story set in a utopia), focus on fixing the environment, not the characters. Instead of giving your wheelchair user the ability to fly upstairs, give the buildings ramps and lifts. That way, its a solution for everyone with that disability, no matter their access to things like magic or technology. When talking about super-crips, this is especially important, doubly so if your character's power is rare! I made a (mostly joking) post ages ago about an idea for an earth-bender character in the Avatar universe, who gets fed up with republic city being inaccessible and starts earth-bending all the stairs into ramps. This solves the accessibility issue for them, but also makes their environment more accessible for others without bending to get around. Of course, not every disabled character will want to help/care to help others, but often when non-disabled people write disabled characters with powers, they kind of forget that their character won't be the only disabled person in this world. It often feels like they honestly think fixing things for their character means there's no problem anymore, and that's not the case.

Avoid, "I may have [insert disability here] but I can still do stuff because of my power!"

By this, I mean give your character other ways to address issues relating to their disability than just their powers. One funny example I remember reading in a writing group I was a part of was this author who was bragging about how their paralysed character could still drive a car because they had electrokinisis (the ability to telepathically control electronics). Aside from the fact that wouldn't work on all cars - including the one their character drove, since not all cars have electronic components controlling their acceleration and brakes, the way they described it was extremely complex, and overall not worth the effort when the real-life solution, hand controls, was much, much easier and the setting allowed for easy access to that kind of tech. When I pointed this out to them, they said they had no idea hand controls were a thing, and they had no idea that real disabled people could drive. They thankfully changed it, but there's 2 things to take from this: 1, double check that disabled people can do the things you assume they can't, your magic solution might very well not be needed, and 2. variety is important regardless. No one device, or in this case, magic power, should act as a one-size-fits-all solution. IRL disabled people have lots of tools to help us, I have 2 sets of prosthetics for different tasks, a wheelchair, a grabby claw (for reaching things on high shelves when using my short legs and wheelchair) and hand controls in my car (or at least I used to but we won't get into that lol). My prosthetics won't "fix" all my problems, I need other tools too. keep this in mind when it comes to magic too - it shouldn't be the only thing at your character's disposal.

There's nothing to compensate for.

Remember, don't treat your character's disability as something they need to make up for (especially if they "make up for it" using their powers). Your disabled character is allowed to make mistakes, they're allowed to have flaws both related and unrelated to their disability, they're allowed to not be good at some things, and they don't always have to be the best at whatever their roll in the plot is. In most stories, they should be on par with the other characters, or at least in the same ball-park, but as I mentioned before, a lot of stories don't let disabled characters fail. In order to justify them even being present, they are often made out to be the undeniable best, almost to mary-sue levels of perfection and super-crips especially fall into this issue a lot. They can be good at things, but balance it out, like with any other character.

You don't have to use all of these points, but they are still worth at least considering. For example, Toph fails all of these points except the first three. Despite that, she's still one of my favorite disabled characters in media, even if she's not perfect, and I'm not alone in thinking that. I've seen lots of other disabled people say the same about her. Which of these points you should use will depend on your story, character, setting and tone. As I've mentioned a few times now, the key is striking a balance. At the end of the day though, these are only general pieces of advice and a lot more factors go into making a character like this work. only disabled people will be able to tell you if you've pulled it off, and that's where beta-readers and disabled sensitivity readers come in!

Also, remember, these kinds of tropes don't just apply to the more common/well-known disabilities like amputations and wheelchair users, that's just what I have experience with! Be sure to research any disabilities your character has to ensure you are not falling into these tropes.

[gonnalosemydougdimmadomedamnmind]

It's literally impossible to read bat fanfiction because it's all based off those ridiculous fanon tropes that spread like crazy and people take as fucking biblical!!!!! Dick was never a jerk to Jason when he was Robin- they got along because Dick is mature as hell and in one retelling- Jason was a jerk to him!! And when he came back as Red Hood he had literally not a single damn reason to treat Dick like shit! Not a damn one! But he did, didn't he? Cause he's the fucking asshole! How dare you make Dick grovel towards that bastard! Dick has only ever tried to help him! Reached out during his Batman run, over and over! Also- Dick never put Jason in Arkham with Joker just a few cells down???? What the fuck! The Joker and all those other fuckers had been broken out of Arkham by Black Mask already for like the whole run??? Jason went to Arkham after losing to Dick, and Gordon put him in there because One he fucking deserved it, Two the literal circumstances?? And at that point!! Arkham was fucking rehabilitated itself!! By Dick!!! Because Bruce had him go undercover there for real, and Dick was actually tortured there before he got out!! So Dick put in the work to get that shit in order to actually help people!!

Dick never chose Damian over Tim- Tim refused to engage with him over his grief, shut him out, and left of his own devices! He never told Dick his suspicions on why Bruce was alive, never! And Tim is not the one to bring Bruce back either, there's a whole team at that point! Dick learns Bruce is alive through tossing his 'dead' body into a pit and the body comes to life as a zombie. Tim didn't tell him shit! Tim is also not a little crybaby- Damian cutting his line was a fucking blip on the page, he was momentarily shocked, that was it! He put Damian on his Hit List, which is why Damian cut his line. And his first attempt at "murder" is just pushing Tim off the dinosaur statue in the cave, he didn't go all assassin on him! Also Dick wasn't even there the first incident and wasn't told about the second incident. Alfred is the one who gave Damian Robin and Dick accepted him because he saw that Damian needed help! He needed guidance! He didn't fucking fire Tim the way Bruce fired him, and fuck all of you for thinking that Tim or Jason or fucking anyone has more right over Robin than Dick Fucking Grayson! He tried to promote Tim and Tim walked off. How dare yall make Dick fucking grovel towards that bastard!!!

Jason did try to kill all three of them!! Why does everyone just gloss over that like what the fuck??? Why does he get a pass for every shitty thing he's done??? "Bad writing" stfu this is the same dude that without hesitation kills random criminals, people who deal drugs, do you know how many random ass people deal drugs??? Jason doesn't give a single shit about being his own type of hero or saving Gotham his own way, nor do the people think of him as their savior!! Are you people fucking delusional?? I saw a post that said citizens would trust Jason over CASS and I cannot Believe the hallucinations yall are seeing???

It is literally downright impossible to find fics about Dick or Damian or Cass or fucking any of them that doesn't include these literal bullshit fanon takes!!! It's impossible!!! This fandom sucks!!!! You don't even need to go buy the comics, all these popular takes have been debunked right here on tumblr!!!! Also Dick can do literally everything!! He's hypercompetent as hell, die mad about it!! Jason doesn't like Wonder Woman???? Where the fuck did that come from??? Wayne Family Adventures is not real!!! Those people could not BE more out of character!!! Look at Bruce for crying out loud!!! Yall know that man ain't act like that!

Edit: leaving this here in case anyone wonders what my hot take is towards this question I was asked: "have you considered tho, that fanon is more fun..."

Well of course fanon is more fun if you're a fan of Jason or Tim. Fanon actively caters towards those two pasty white boys. Fanon actively shits on Dick and Damian though. And for Dick? He literally never did that shit! It is all made up! It's literal character assassination?? But by the fans?? And for Damian? He was 10!!! He grew up as an assassin! He was actively trying to grow with Dick's help! How can yall see him as the bad guy?? And not the literal bad guy, (Jason), and the 17 teen year old who literally fought him back btw, (Tim), like old boy did not act victimized the way you people portray. And Jesus for Cass? Cass is just a prop in fanon. So what exactly about this should be fun to me? Like seriously.

[cabi-leodrann]

Cabi! Big fan Joffrey here!

I wanted to ask, every time I see your art not only am I stunned by the quality, but also by the sheer uniqueness in style and character design. I've never seen a lamb designed quite like yours, it's so perfectly yours. What went into the inspiration behind the characters design, especially facially? Did you try and mimick a real lamb, or was there a more fantasy-element that you veered toward?

I can't specifically put my finger on it, but it gives me vague Warframe vibes. It's such a beautifully odd design and I can't get enough.

Love your work, love everything you do, can't wait to see what's next!

Hope you're well, stay safe, take care!

First of all, your ask is one of the biggest compliments I ever had in my life, I will keep it forever. You're an absolute chad! Second of all, those are very interesting questions, and I will be very happy to answer to them!

It started more or less with this drawing I made *look at the date* 2 years ago apparently. Way before I even thought of an AU- I didn't had much in mind, beside doing something that looked cool tbh.

I was very happy with the flow of it, and how it came out. And when I drew the Lamb again, I would try to nail THIS design.

The thing is, with time, I had a really big problem: Lamb looked way too young when I thought of them more as an adult. I had too much of the original game design guiding me, making a Lamb that was too cute and childlike for what I wanted. (And also, the head did not go well with the rest of the body holy shi-)

Came those drawings! I was happier with the look, Lamb was older! And I found the colored design quit nice! (I used a sheep picture as reference, but I don't think I used it well, compared to now. I used the reference for details, when I should have gone for overall shape first.) I still wanted something simpler to draw tho. The colored design was nice for an illustration, a one time gig, but I got pretty annoyed pretty fast at trying to nail the face every time. And from those attempt, you get the sketches on the right. (I also wanted to get away from other artiste's interpretation of Lamb, and at the time of those drawing, I didn't felt like I was away enough)

From those previous sketches, the idea for THaB started to emerge. I also still had problem with Lamb's design. Especially the hair. I was inspired by black hair, which is usually not a problem, but I was never happy with how it looked on Lamb specifically. I can draw black hair, I can draw black characters, but this mother-fucker would never feel satisfying to draw or finish 👀

And one day, as THaB was solidifying in my mind, I made a series of sketches that I posted! And one of them was the most important in Lamb's final design. This lil guy! (this design didn't came out of nowhere tho, Lamb was evolving into this as I kept trying. But I wont show those sketches, because those are spoilers =3)

And soon after, I made a comic that was supposed to only be a one shot, just a POV of Lamb and there reaction to Nari' telling them to die for him. But you know, things got out of hand lol

As I continued the comic and doodles on the side, I finally made myself a reference board, with real life images that were close to the vibe of this head drawing. (And I cannot stress enough how those references solidified Lamb's design as a whole. Draw with references, it is life changing. The more reference you get, the more your visual library will get diverse, and the more interesting detail and shape you will add to your art in general.) (I'd also add this: understand what you are drawing, make research and stay curious for every bit of info on everything. You never know when these nuggets of knowledge will help you as you create)

As I kept drawing the Lamb, they evolved! Things changed, slowly, like the shape of the nose, the shape of the eyes, how the hair flowed. You see those change at the face, but also on the body! As the idea of THaB's Lamb got clearer, the design got more specific. (I also got better at drawing! This comic make me draw way more often then before, and it shows)

Something before I finish: the other Cult of the Lamb character's design are way more inspired by their animals, when Lamb is more in the human spectrum. I thought of changing Lamb at some point, to make it fair/coherent, but I loved the design too much to change it again. This AU is something I do for fun, and even if it would have been more logical to change them... I don't want to-

As for the vague Warframe vibes: I play the game! And I found the character design absolutely stunning. So I am definitely influenced by the game without knowing it lol

Thank you very much, again, for your kind words! I also wish you the best, and see you next post =D

TL;DR: Lamb design, at first, wasn't inspired by much, beside the game and my style at the time. But as I retried to make them, added more intent, they got more refined. What really nailed the idea was to have real life references on the side.

[beatcroc]

a year!!! as of today i have now been drawing these funny little pizza freaks, to the exclusion of almost everything else, for!!! an entire year!!! i wanted to do a nice group shot/lineup of everybody to compare to when i first started trying to draw them because oh boy were they bad. i never even posted most of them anywhere because they were so bad. but im posting them here, now, to see how everything's changed/evolved.

this is probably the hardest time i've ever had trying to figure out how to work with a style, but we got there eventually; i'm pretty happy with the handle i've got on everybody now...dont let ur memes be dreams. lots of unimportant journaling and idle thoughts abt it below.

older pics

the first one is the VERY first time i drew them, before i thought i was going to actually have any interest in drawing them [lmao]; it was just the one isolated image, for my friendserver, to illustrate the funney message, so there was no attempt to make it Good or actually understand anything going on w/ the designs or style.

second is the original run of practices sketches to start trying to figure them out for real; done after i started having ideas for the comics and such and realized oh god maybe i am actually gonna draw fanart for this. [again, lol, and lmao.]

third one is the first pt art thing i posted on here. there were a couple weeks of sprite studies between this one and the previous image. the one on the top right wasn't part of that post i just threw it on as space filler; i'd intended to shift to doing Sprite Redraws But Stylized to explore tings more, but that was the only one i did. ¯\_(ツ)_/¯

individual characters

peppino: by far the hardest dear god. bro what ARE your shapes how DOES your face work. jesus christ. everything i have trouble with this style for, peppino has it in excess. i draw in polygons! i need consistency! and that is the last thing this kind of style is concerned with. they are made of squarshy clay and i do not understand how to mold them. i was really hoping trying to learn this game's style would GIVE me that kind of flexibility for fun exaggerated facial expression but i don't think much came of it in the end 😔. anyway on the bright side all this means once i got peppino figured out a little bit everybody else clicked way easier.

fake peppino: honestly i never did anything with him on purpose except for how his eyes work + the perma-smile thing. i figured ok hes supposed to look weird and off model so whatever happens with him happens. and it did. and it kept happening. it is still, in fact, happening.

noise/ette: somehow, for every bit that peppino was the least natural thing i've ever tried, these two worked pretty much right off the bat. i still don't understand it, seeing as pretty much all the things at play for peppino are also at work for them. i think the new sketches are actually a little worse than older ones but not enough that i care.

gustavo: really funny bc i drew him on model twice and just went 'okay, cool nice, easy, um. he doesn't have any fucking legs?' fortunately he was the only one i had a strong idea for how to stylize him [square] and it worked exactly as i was hoping so wahoo.

brick: is an animal and therefore 5000x easier and more natural for me to draw/stylize than anything else in the cast. that is Just a rat bro. i can draw a rat.

gerome: i think the funniest one here. the most drastic and least necessary change imo. i was gonna have him be really small at first, like smaller than the noises, but then i just... didn't. he's just peppino-sized now. also i gave him like. actual human facial structure, which is funny bc in most cases i'd do anything to avoid, but it works well for his being A Rock to give him some angles and definition like that+ to differentiate his vibe from the rest of the cast who are all very squishy. also since he is essentially Just A Head it's good to emphasize that too ig.

john: i only drew john a couple times but he gets to be here because i like him. and because most of the stuff i applied to gerome was readily applicable to john, though i did try to keep him a little more uncanny because he is a Huge And Lanky Freak. i hate that he is barefoot btw but idk how to make his color balance look right with shoes.

pizzahead: i did not want to put him on here honestly but i Have drawn him a handful of times and more importantly i didn't know what i was gonna do with john's pose if i didn't have him there to be glared at. the only thing that's different with him is giving him wider-bottomed pants, which i got from when i tried to draw these guys in clone high style [i never posted that one either][i will eventually]

snick: he gets to be here because 1. he's like 6 lines 2. i like him and 3. ive scribbled him a few times offhand and it went pretty well

misc

there are some guys missing because those are guys i didn't draw enough [or at all] to have gotten comfortable with them. sorry

i would have Liked to shade these but for the time being i have accepted that my grasp of light/shadow has decayed to the point im not going to be happy with anything i try there, so For Now i am working on my presentation with flats i guess. gerome has a shadow only because he's shaded like that ingame and looks naked without it

anyway if you are still reading [hi?] i get to shamelessly plug now. i'm over the hill of my pizza run now, and while i still have plenty of things i want to make here, most of the bigger more in-depth ones have passed. pizza tower was the first thing in THREE YEARS to get me out of my oc groove to doing fanart, and once i am done with my ideas here i will be going right back to it. if you like my art or how i write characters/interactions you should check out my oc/webcomic blog @jamverse . i can't promise people who like pizza stuff will be terribly into my designs, but i can guarantee i treat my guys with the exact same sort of tone i handle the pt guys with. and hell, i've mentioned it a few times before, but like 70% of my characterization for fake pep is just copied off one of my characters, so if u are going to miss him... he will still be there in spirit >;p

and if you dont care about any of that and are still reading thank you anyway. actually making these comics + seeing how shockingly well-received they've been has done a lot for my confidence, and for seeing that my kind of stuff IS something people enjoy :')

[spaceorphan18]

X-Men Fic (Rogue/Gambit) : Toys

A/N: Yes, this was inspired by that clip that's been going around of Gambit's VA for XM97 playing with action figures. I cannot believe this is what I'm writing for my first real fic for this fandom. Dear lord, forgive me for the shenanigans... also, unbeta'd. I just wanted to get it out into the world and be done with it.

I'll post this tomorrow on Ao3

Rated: T for suggestiveness

Summary: Rogue catches Remy playing with toy action figures of the X-Men. Shenanigans. Set in the 616 comic verse, but some fun meta-y references to XM97

****

Toys

Upon arriving home, Rogue comes in through the open kitchen window because why bother with stairs when you can fly? It’s been a long day, a long week, a long life… All she wants to do is curl up on the couch with the cats and a trashy book and hopefully Remy’s home so she can get a back massage.  Hell, forget the book, she’ll gamble for the massage first.  Save the trashy for later.  

She grins, thinking about her husband’s warm hands on her skin.  

Remy is, indeed, home; standing at the kitchen island, his back turned towards the window, so engrossed in what he’s doing that he doesn’t hear her come in.  And what he’s doing takes her by surprise.  

The kitchen counter is covered in half open boxes, plastic containers, cardboard, and little zip ties.  There are a good, half-dozen or so action figures all lined up in a semicircle; each one of them a well detailed, classically designed replica of, well… the X-Men.  Oh, dear god, what did she walk into? 

“I’ll take ya down in one slice, bub,” Remy says, holding the Wolverine figurine in one hand, his voice low as he attempts Logan’s gruff voice.  Remy LeBeau is good at a lot of things, Rogue would be first to give you a list, but doing impressions is not one of them.  She bites her lip, fascinated to see how this plays out.  Remy grabs the Magento figurine as his voice shifts to imitate Erik.  “You incels!” Remy screams; loud, exaggerated, and carefully enunciated.  “How dare you try to take down me; the questionably dressed, ego too big for my helmet, Master of Magnetism?” 

Rogue puts a hand up to her lips, holding back an amused snort.  Oh, Remy… 

Remy loses the impression as he lunges the Wolverine figurine at the Magneto one.  The Magneto one floats away.  “You fools! Don’ you remember I control the metal?”  Shaking the Wolverine figurine violently, Remy lets out a feral scream and the figure is flung to the side, landing with a clatter in the sink.  

Magneto is discarded for a moment as Remy picks up the Scott and Jean figurines.  Scott has his hand to his visor while Jean has both her hands on the sides of her head.  “Jean! I seem to have made a tactical error,” Remy cries in Scott’s no-nonsense voice.  His voice then slides higher as he mimics Jean.  “Scott, my telepathy.  It out o’ whack!  Oh, Scott!... Jean!… SCOTT!.... JEAN!!”

Rogue is dying inside.  She holds herself tightly, trying as hard as she can not to burst out laughing.  

Scott and Jean are shuffled into one hand as Remy picks up the Magneto figurine again.  “Enough of this!” Remy says, back in the Magneto voice.  He then lets out another dramatic scream as he tosses the Scott and Jean figurines onto the pile of boxes, scaring Oliver, who had been inspecting one of the twist ties.  

He picks up the Storm figurine next, raising her arms to the ceiling.  “An’ now you deal with Stormy, who will smite you with her lightning blasts.” He jolts the Storm hands into Magneto, making little sound effect lightning blasts as he does so.  “Fool, I am impervious to lightning…  How dat possible? Lightning an’ magnetism are not the same thing!... I can control static electricity!... Dat…still don’ make any sense!... Begone, weather witch!”  

Rogue has tears in her eyes. She’s biting her lip so hard, it’s beginning to hurt.  Thankfully, Remy is so lost in his make believe world that he can’t hear her snickering.  

The Storm figurine is placed gently face down on the counter as Remy picks up the Gambit figurine.  Rogue’s eyes grow wide, intensely waiting to see how this will play out… 

“Ohh, you goin’ down now, mon ami,” Remy’s voice grows low and serious.  He starts making explosion sound effects, as if the Gambit figurine is throwing little playing cards at the Magneto one.  Remy then throws his head back in a villainous laugh as he goes back to the Magneto voice.  “You seriously think a few mild explosions could ever touch me?”  

Remy stops, and grins that cocky, beautiful grin of his.  “Non, but it enough to keep you distracted.”  He starts turning the Magneto figurine around, as if it’s confused.  “See, I always gotta ace up my sleeve.”  

In a quick second, he drops the Gambit figurine, and grabs the Rogue one.  Her arm is out, one leg up, poised to fly.  Remy slams the fist of the Rogue figurine into the Magneto one’s head.  “Howdy, sugah.” 

Rogue tilts her head, amused.  Remy’s imitation of her own voice is so comically off, and yet incredibly endearing.  

“How ‘bout you leave my family alone!” The Rogue figurine crashes into the Magneto one again.  This time, Remy charges the Magneto figurine, causing it to glow purple.  He tosses the charged Magneto figurine up, letting it explode in mid-air with a bang.  The charred remains drop to the counter with a clang before it bounces into the trash next to the counter.  

Remy then picks up the Gambit figurine and brings it in close to the Rogue one.  “Anyone ever tell you how beautiful you are when you’re punching people, chere?...Why don’t you shut up and kiss me, Remy…” Remy starts clicking the faces of the two figurines together, making little kiss-y noises and ‘mwa’ sounds as the action figures ‘make out’.  

Rogue grins wildly, expecting nothing less.  She crosses her arms across her chest, casually walking forward to let her presence be known. “Whatcha doing, sugah?” 

Remy gives a startled jump, the figurines dropping out of his hand with a clatter.  He’s not the least bit sorry he’s been caught, however, a devilish grin quickly sliding onto his lips.  “Jus’ havin’ a bit of fun testing some of these toys that show sent us.”  Rogue picks the destroyed Magneto figurine out of the trash.  “Some of dem defective,” he says slyly. 

“Defective huh?” She drops the figurine unceremoniously back into the trash and comes in close, wrapping her arms around his neck.  She knows the show is a sore spot, no matter how much free merch they’ve gotten from it lately.   “You still salty about all that?”

He lets out a grumble, but still wraps himself around her, just the way she likes.  “Don’ act like you wouldn’t be, too, if they killed you off like dat.   Middle of the first season, too.  What’d I do to deserve dat?” 

“They just knew you were the best one.” She runs her fingers through his hair.  “Who else gonna go out in a fiery blaze of heroism like that?” 

He smirks, though she can still see a hint of sadness in his eyes.  “It was pretty epic, non?” 

“The best…”  She draws him in for a kiss, sweet and gentle and comforting.  “Forget that show, Remy.  That ain’t our life.  This is.” She kisses him again, a little bit harder, grounding herself in his embrace.  He had tortured himself wanting to keep watching that show, but she couldn’t.  She wouldn’t.  She didn’t want to imagine herself going down a path she would never recover from.  “Besides…” she says, trying to keep it light.  “I’m sure season two will have me pulling your pretty ass back from the dead one way or the other.  And if it doesn’t, you best bet I’ll get those writers fired and write it myself.”  

“I ever tell you how sexy you are when pulling me back from the dead?” 

“Shut up and kiss me, Remy.”  He does and they do.  Forget the massage tonight, they’re going straight to the trashy.  She’s hungry to feel him everywhere tonight.  

They break apart once again, breathing heavily as Rogue leans her forehead against his.  “Hey, Remy?” 

“Oui?” 

“Why don’t we leave this mess for later and go play with some of the toys we’ve already got.”

He laughs into another kiss.  “You always have de best ideas, chere…” 

****

Later… 

In the stillness of the night, long after Remy’s fallen asleep, Rogue gets up for a glass of water.  

The kitchen is how they left it hours ago, a mess of trash and action figures scattered around the room.  The cats had gotten into some of it.  Poor Scott had fallen to the ground.  She picks him up, placing him next to Jean, giving him a little pat as she does so.  

She wants to ignore the others.  Wants to ignore the strange sensation it is to have your likeness in toy form.  Still, she’s drawn to the little action figure her. She picks it up, inspecting it.  It’s her old green and yellow uniform, one she hasn’t worn in years. She doesn’t even know where it is, probably having been trashed in some long ago fight.  Unsurprisingly, the boobs are a little too big, the waist a little too small, and the hair a bit ridiculous.  But it’s oddly still her.  A little version her.  

She looks down to the Gambit figurine and smiles.  The trench coat, the staff, the ridiculously abbed pink breast plate.  The cocky little grin.  They got his likeness perfectly.  And yet it doesn’t even hold a candle to the real thing.  

“Love ya, Remy,” she says softly, as she takes the Rogue figurine and gives the Gambit figurine a kiss with it.  She laughs at her own silliness, but still takes a moment to place the figurines together, resting against each other, as they should be.  

She grabs her water and turns off the light and heads back to the bedroom, where she’ll soon curl up against her husband and fall asleep.  

[sweeneydino]

*BIG INHALE* Hi! I’ve been rotating the Spikeangelo au in my brain for a while, and things might get incomprehensible real quick. Not all questions, some just comments... 90% of this is just musing as the train of thought jumps rails and causes massive casualties; no need to answer all if you chose to answer any.

1. The fact that Master Splinter lets Titan live with them BEFORE he knows that he’s a version of Mikey, even after the attempted murder… man will look at a mutated turtle, ask, “Is anyone going to adopt that?” and not wait for an answer.

2. In Turtle Temper, Splinter says, “Spike, chew on your leaf if you are in the mood for a story”. Ronin has a choice here: pest Raph by eating, or troll Splinter by not. What choice would he make?

3. It seems like during the Slash and Destroy episode, Titan already had his outfit. If so… where did he get the clothes? The little turtles don’t really wear anything (and their clothes would be much smaller), so unless Splinter has a secret goth wardrobe, the only thing I can think of is that Raph is Very Optimistic about how tall he’s going to get, and has stockpiled clothes accordingly.

4. A while back you mentioned Titan “chewing [Shredder] out” after Shredder kills Splinter during the Triceraton invasion. The image you drew made it look like a tirade, but the first thing that came to mind for me was… more along the lines of using Shredder as a dog toy.

5. You said that after Slash and Destroy, Titan hides for a while out of shame. When does he rejoin the others? Before the invasion, *during* the invasion, after? Does he join the farmhouse arc, or does he do as canon Slash does and defend NYC while the rest of the turtles are gone?

Ah... there's a very long part six that's just about the ghosts... I don't think I'll be bothering you with that today.

When I see these types of asks, I can never control the squeal that comes out of my mouth. I love detailed analyses about my aus

:D

I also love completing things, so let's do them all!

1) Yep! Idk whats with the Splinters, but if it's turtle-shaped and needs a home, well say no more!

When Spike turned to Titan, Splinter already sensed something off with him, something more familiar than a family pet, but he would never figure out why until their lair is attacked by the kraang at the start of the invasion.

It's hard not to realize that your son's former pet knows moves (and shows a strange amount of wisdom) that you're 90% sure you never taught or shown to any of your sons.

2)

I think he's still upset about the pizza. Or Raph's anger.

3)Dumpster diving?

I'll be honest, I forgot to write it down... So we will stick to this simple solution for now🗿

4)

Okay, well... Shredder ALMOST became a dog toy. Let's just say that (this will totally not be a future comic)

5) He reunites with them after the newtralizer arc! After a little convincing ofc

When the invasion begins, he's with Splinter and Leatherhead, having defended their home and now searching for the turtles. They find Shredder after they exit the sewer, and Titan isn't too pleased to see the old bastard, attacking him in a rage once he hears about Leo's possible "demise."

Unfortunately, when he gains the upper hand, Titan is the one caught off guard and knocked into the machine, crushed by the pipes.

Before Shredder could really begin his usual evil monologue, he becomes distracted with Leatherhead, allowing Splinter to check on Titan and help him out of the pile of metal. Despite the likelihood of having a huge bruise on his ribs, he'd be fine. Even better if he could get rid of all their issues right there in front of him.

The one wrestling an alligator. And somehow winning.

And when he sees that devil in that all too familiar armor toss leatherhead into the pit, he's all too ready to kill him.

Yet he can't. Because He's not the only one wanting to prevent the past from happening again.

Splinter sends him away to find his sons, Titan's brothers - well, sorta - and even if he wants to bring Oroku Saki, the worse pain imaginable, he's more concerned if they are okay.

...

Okay, well, if the rest of them are okay

COUGH COUGH.

He'd find them, with him.

And uh. I think Leo's perfectly fine.

So when they decided to leave for April's farmhouse, he stayed in the city to search for Splinter and the other Mutanimals after leaving Leo with the others.

Maybe he sees himself as a burden.

Then the rest you make up on the way 👍 /j

This was very fun! Maybe I should just write paragraphs or smol little chapters with much more detail and flow🤔

Nah, I'll just draw.

Can't wait for the looooooooooonnngggg part six :D

[utilitycaster]

actually taking the last bit out of the tags of that post because here is the thing. and I'm going to use specific examples, because I think it's illustrative.

the two groups of people in this fandom who have specifically harassed me have been, as I've said before, imo/dna fans mad I don't find the ship very good, and (to be fair, only on one occasion) shadowido/mauk fans who got mad that I said that tagging ao3 fic about throuples with individual pairs sucks. [hilariously the latter was not even about them at all, it was about me looking for imogen and fearne ship fic that wasn't witchy trio fic and finding it almost impossible to filter].

I do not like these people because they have engaged with harassment. It is not about identity; it is about actions. My closest friend, and the first non-family member I talked to on Wednesday morning, is a bi woman in an open marriage to a woman, with a longterm male partner. I was a bridesmaid in her wedding. The last time I visited her, in September, I was joined by other mutual friends, who are similarly in an open marriage with longterm partners and at least one relationship between two women.

I am entirely secure, in my personal life, that I am kind and accepting to queer women (of which I am one) and to poly people (of which I am not), and so I hope you can appreciate that if someone attempts to attack me on the internet on these grounds because I do not have the same exact opinions on pretend people kissing, my response isn't "oh my god I should go off and die because I'm a terrible person," it's "get a load of this moron making wild assumptions about my personal life based on a single data point in my preferences in fiction; I'm going to make them regret doing this to me, and hopefully anyone else, because this is genuinely a detrimental behavior in the fandom space." And also, you know what. If they were a homeless person on the street and asked for a dollar I would still give it to them if their attacks were merely verbal (yes, I know the idea of someone screaming "YOU'RE A LESBOPHOBE FOR HATING IMO/DNA can i have a dollar" outside the grocery store is rather comical, and I think that is how you need to consider statements like "um actually I won't help pro-shippers." Imagine that conversation happening in an irl activist group. Everyone would be like "uh...anyway, how do we fight back against this hostile bench architecture.")

I think right now it is vitally important to remember what actual bigotry looks like and what needs to be fought, and the reason I tapped the sign of this post last night is literally that I think you are wasting time and energy engaging with people who think bigotry is "criticizing the pretend guy Ashton Greymoore for concrete but pretend choices they made" when I also think most people criticizing Ashton would, if Ashton were real, still toss them change if they needed it, or are people who currently donate to or otherwise work with local programs that assist nb people, disabled people, or unhoused children.

I like to argue and I like to engage in fandom and I will continue doing that because it is a source of enjoyment and comfort for me, but I really urge everyone to ask yourself "am I arguing about genuinely different readings, or do I think that everyone who doesn't like my blorbo ship is a bad person" because if it's the latter, I think you need to nip that in the bud of online fandom before it grows into something darker and worse. A lot of irl hate and bigotry starts from a place of "everyone who doesn't agree with me and give me what I want all the time is wrong and evil" and perhaps I am too optimistic, but I think many people who say things like that in fandom just are caught up in the drama of it all and are capable of exercising empathy when they stop treating shipping or interpretation like a popularity contest that, if they lose, indicates that everyone around them is irredeemable. But I also think it can be the start of a really bad path.

[pumpkinstrawbrew]

dreams of you.

(part 1 ?)

...

(my first *baby* attempt to make a comic-like art. i wanted to try an' tell a lil snippet of a story in like, 2 pages. there is technically supposed to be the second part to it, from bruce’s perspective. but idk, when *if* i will get around to it.

i suppose that this lil thing can be kinda related to this n' that timeline. so it might take place, after the ‘bruce sitting next to jon, when he tripping balls too strongly to be moved’ part, but before jon gets bold an’ steals one of batman’s gloves, bc he’s a lil freak.

this can be considered what came before all of it. the begining of crane slowly becoming obssessed with the bat. mostly since he keeps dreaming things, that he doesn’t think had happened, but they feel like they did. an' considering how he has barely any expirience with those things, it's odd how he can sorta recreate smth like that. smth that feels real. it gives him a food for thoughts. but the sort of thoughts, you can't really do much with.

while i think of btas crane as more emotionally detached / apathetic person, it’s feels natural for him to begin clinging to that one person, he seemingly has ‘connection’ with. even if said connection can be just a wishful thinking, a dream that he had under influence of ft. but for some reason keeps seeing even after he had 'recovered'.

i love to imagine that while irl, he was hallucinating an’ seeing batman as bat-monster, in his dreams, it’s opposite. he sees him as human. an’ he also sees himself to be a bit younger too. almost like it’s a callback to some more vulnerable part of him, that he prefers to forget about or ignore. the show writer’s notes said that jonathan has the same background as his comic counterpart, so he was pretty much bullied an’ isolated as well. but unlike comic!crane, he’s less emotionally volatile an’ more research-driven. but it’s hard to be calculated an’ logical with things, that he doesn’t understand. nightmares, he’s familiar with, those oddly ‘soft’ *in comparison* dreams aren’t smth he knows what to do with. esp bc he doesn’t even know if it’s based on reality or not.

regardless, i find it interesting that btas crane isn’t actually scared of the bat. he mostly view him as annoyance. such a contrast to both comicverse an’ arkhamverse, who are also way more engrossed in whatever confrontation they have with batman, than this particular jonathan.

he needs more time an’ his own trigger, that would kickstart his more personal involment with batman. it will start small an’ slow, but eventually lil flame grow into a forest fire. tho, i think he would handle the realization that he went from indifferent to hyperfixated to obsessed way differently, than his other counterparts too.)

[blazehedgehog]

After watching SAGE's 2024 trailer, you ever get the feeling that most people want to be making indie games instead of fan games nowadays,? Every year there's been less and less fan works there.

This is the first year I've really felt it in any meaningful way.

There have been attempts for more than a decade to rename SAGE to drop the "Sonic" part. I've always pushed back against that and at this point the branding is too strong to give up, I think. People know about and come to SAGE because the brand is strong. Renaming it would be a death sentence.

Taking off my business hat, it's a bummer to see fangames in the minority here. Everybody wants to hop on that indie game gravy train and chase the success of Pizza Tower (seriously, count how many Pizza Tower clones are in the trailer this year) or Freedom Planet or Spark the Electric Jester or whatever.

And it's easy to congratulate people for striking out on their own and making original games. I was one of the many voices urging Sabrina to divorce Freedom Planet from the Sonic franchise and make it into an original game she could sell. So she ran a crowdfunding campaign (multiple, actually), was successful, and now we have two Freedom Planet games. And that's great!

But... does that mean all fangames should go away forever?

The example I lean on the hardest is comic books.

A lot of the guys who created the biggest super heroes aren't around anymore. They gave up control long ago or are straight up dead now. These books are effectively officialized fanfiction now, as are the $300,000,000 movies based on them. An ever-increasing number of people writing, drawing and directing these characters today were not alive when they were originally created.

But people still keep writing Batman stories, officially or otherwise. Because there are some stories you can only tell with Batman. Now, you could break off and make your own character that's similar to Batman, build up this history for him, and then finally tell your original story with that character. And maybe that's satisfying, to have built something of your own like that.

But for one: that's a lot of work. Batman is interesting because he has decades (almost a century now) of history behind him to play off of and work with. There are people out there who will tell you to just start writing your dream story and forget about building up to it first, but that's more about motivation and confidence than the idea that stories don't need historical context.

And two: that's already been done.

There's a good chance you know who Rob Liefeld is from his, uh, "distinctive" art style. He also created Deadpool, a katana-wielding mercenary assassin that dresses in red and black, whose real name is Wade Wilson. But before Deadpool, he created Deathstroke, a katana-wielding mercenary assassin that dresses in orange and black, whose real name is Slade Wilson.

Here is a guy who has built a career on copying his own work (and the work of others) over and over and over again.

Did it make Rob Liefeld rich and famous? Technically yes, but he kind of got rich because other people made better work using his characters, and he's famous for being kind of a hack.

So which is better?

Creative output you can do right here, right now, today, but is considered "fanfiction" or "fanart" or a "fangame", which may or may not lead to you being the person handling the official thing at some point down the road...

Or spending years of your life toiling to bring an original concept to life, and even if you struggle through all of the boredom and hardship of getting your original product out the door, it gets lost in the noise of now-million other creators trying to do the exact same thing. And then, at the end of your launch, after 2, 3, even 5 years of working and working and working, you've only made enough money to cover rent on your apartment for a month and a half.

Or, to put it another way:

Are you ditching fangame development because you have a legitimately great story you want to tell, or are you just doing it because you can't make money on a fangame?

Are you just creating another Bloodstrike?

As someone who has struggled to justify putting lots of hard work into a fangame myself, and have both made very popular fangames and some not-so-great original games, I don't know if I have a definitive answer for you. But I do wish there were more fangames at the fangaming event, and I will say, as always, if I could get paid a livable wage for making fangames, I would drop everything and do it in a heartbeat.

[lambergeier]

2024 comics post

broooooooooooo. what the fuck HAPPENED.

the actual cause of all this: i read some really funny fic by ao3 user deadchannelradio, then i got emma to watch some old teen titans with me, then we watched the under the red hood movie, then i read some more fanfiction, almost entirely bad, then i caved and checked what the public library had available to borrow comics-wise. which turned out to be a lot. and then i bought the DCU subscription. and now here we are. this is going to be in approximately chrono order, and there will be no bolded recommendations. read only what big 2 comics you can justify to god.

tom taylor's nightwing, vols. 1-5 (issues 78-105 i think) plus fear state. my first foray back into big 2 comics since my mcu-era marvel situation in high school and college. haha, these are kinda cute, i thought. simplistic, but the art is gorgeous, i said. i would be happy to buy these as floppies at my local store, i theorized. like some kind of idiot. like some kind of naive child.

batman/superman: world's finest, #1-ongoing. waid and mora just too fucking good. i love nonsense, and to put nonsense in my mouth. would actually consider buying the first volume as a tpb it's so fun except for the massive, classically racist, unforced L of making another culture's normal nuanced folk hero (ne'zha) into a demon from hell for just like, no reason. hello? also love mark waid just doing whatever the fuck he wants with the kingdom come continuity. it's his house. no one can stop him. still reading this one as new issues go up on DCU.

world's finest: teen titans, #1-6. loved this also. i also haven't read any og teen titans (emma read all of pre-crisis NTT while i was reading nightwing, so the early children remain firmly in her realm of expertise) but she also agreed that it was cute. waid is just fun. like what are we supposed to do.

shazam 2023, #1-6. see above re: waid and his powers. big shout out to dan mora, as ever, but BIIIIIG shout out to colorist alejandro sanchez, who i truly think made this arc. girl those WATERCOLOR EFFECTS!!

robin 2021, #1-17. read this and super sons at about the same time, officially dipping my toe into the damian waters. solid, loved the issue of all the other robins chasing after him, him and dick love each other for REAL. i also like his little goth girlfriend, and his manga habit. felt like a kinda ham-fisted attempt to give damian his own story without being willing to set him up with his own status quo, a la bludhaven, but what can you do.

super sons, #1-16. children's comics for sure, but with a surprising amount of blood in them? wasn't quite certain of the marketing angle on that, but i LOVED jon and damian they are BABIES. i also like every time clark is like, my son, please, never listen to damian. his father is a lunatic. for sure never listen to his father either. that was cute. shame this was cut so short lmao.

tim drake: robin, #1-6. offensively, offensively bad. i didn't even really know tim yet but this was like. please christ in heaven gay people have to be worthier of better comics than this.

batgirl 2000, #1-37. i know this is widely-loved, but it actually didn't get me until like #12 or so? if that? i love cass, but the art was rough for me, and it couldn't carry me for the early non-verbal comics. her shit with shiva was great tho. cass you are fully insane my girl

under the red hood and lost days. ICONIC!! JASON TODD MY RATIONAL KING!!!

robins: being robin. did not like this. trite. also did not like dick's manbun: a real issue.

batman: year one. oughhhhh what if the classics are good actually. and unfortunately. mazzucchelli and lewis are so fucking good, like lewis in particular..... what even is left to be said. the art alone is Just That Good. also bruce wayne and jim gordon are kissing with tongue for real

robin: year one. mmmmmm good. dick grayson your problems. also i still love harvey dent. possibly my favorite batman villain. symptom of having watched a lot of batman begins/read my one random copy of the long halloween an extensive number of times as a teen

batgirl: year one. had some great moments, but did not like it nearly as much as robin y1. i do think this is due to the sexism. i like when babs punched infant dick in the solar plexus tho!

batman: urban legends - specifically the cheer arc with jason. i really liked this but i'm not sure i'll feel the same in a year or so. i think this was a pretty deft way to get jason to drop lethal violence without betraying his own justified belief in the power of lethal violence (rational king), and thus bring him back into the family fold, but of course bringing him back into the fold is itself a fraught project, and his character as a whole is so uncertain (as i understand) since the new 52 so like. i think it did what it was trying to do quite well (and i loved how insane bruce appeared! compared to jason!) but should it have been trying to do all that? an open question!

devin grayson's gotham knights, #1-24. WELL AS IT WOULD HAPPEN THESE ARE MAYBE THE BEST BATCOMICS I READ ALL YEAR. listen i am so aware of devin grayson's many sins. but these are the original "what does it mean for bruce to have all these fucking teenagers" comics, and, so far in my reading, they remain the undisputed best. everyone's just been rehashing her since, and it hasn't been nearly as good. she's got the touch (profound fandom-aligned insanities)

batman: murderer/fugitive. put an order in for the recently-released 1100 page $125 omnibus just this afternoon. It's Good.

robin vol 1: reborn (tim drake). idk the exact issues on this, collects tim's first few post-tlpod batman issues, plus his first miniseries. tim drake by god do i care you.

lmao okay the post editor is starting to lag like a motherfucker. posting this then putting the next half in a reblog