#and i'm GOOD at it. it's easy for me

[airenyah]

should i just. study theater- film- und medienwissenschaft

[romansleftshoulderpad]

As a writer, I love going back through the comments I've gotten on AO3. I promise that the minute you take of your time has been appreciated for hours/months/years

[poorly-drawn-mdzs]

How much longer 'til your luck runs out?

[First] Prev <–-> Next

[mumblesplash]

part 2!!!! [read part one here]

transcript below the cut arranged into stanzas to help show where the rhymes are:

“that’s why they brought gem in? as a failsafe?” as a pawn. we were told to point her at whoever we need gone

“gem won’t hurt her allies. …yet.” the curse she carries will it’s had its eye on her since she lost the other eye she was specially selected for her hunting skill it’s quite the high honor. “wow. how generous.” we try

think about it: why does almost no one fight the curse? “given how fast scott killed skizz last season, i can guess.” [“any pain you spare your friends, you’ll have to suffer worse”?] it’s designed to shut down higher reasoning with stress

[starry-bi-sky]

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

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

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

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

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

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

....

The kid is a surprise though.

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

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

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

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

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

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

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

Gordon has multiple questions, and his officers tense up.

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

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

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

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

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

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

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

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

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

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

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

[keydekyie]

Go you funky little SecUnit! Go!

(One of my favorite scenes from the newest Murderbot novel: System Collapse)

[torisprlng]

GOOD OMENS: 2X05 || DOCTOR WHO: 1X06

[omaano]

Had a bit of a crisis over trying to draw Boba, so I did the adult thing and did some face studies. Learned a lot, hopefully some of it sticks

[bacchuschucklefuck]

dreaming abt sophomore year class swap bard!riz

[varpusvaras]

Jason who doesn't use Red Hood outside of Gotham anymore. Red Hood is a Gotham Rogue/Vigilante/Anti-Hero, whatever the current consensus of his status is. The Red Hood is a Gotham problem now. He has entirely new vigilante identities for different things he does outside of Gotham. If he is hunting demons, he uses one. If he is tracking down global trafficking rings, he uses another. Some people know that one of them is his other identity, but pretty much no one knows that they are all the same person.

Then he has the one he uses every time he spends time with Roy. The one only Roy knows about. Because Roy is a hero, and he can't be seen with a bad guy. So he plays a good guy whenever he is with Roy, plays a person who plays by the rules and doesn't raise the hackles and does things cleanly and is proper, like he once used to believe would be always possible, even if it means that he is putting on more than one mask in order to do it.

Because he wants it. Even though he believes in himself and what he does, he wants it. He wants to indulge in the dream of things being easy for once in his life, of himself still being the person who believed in magic.

He wants to dream, every once in a while, even when he knows that in the end, he needs to wake up.

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[thedramaticduke]

Disney: Yeah, sorryy, we don't know how to make villains without queercoding them and people didn't like the twist-villains, so we stopped making them alltogether :( I hope you like 3593 intergenerational family-traumas!

Dreamworks, while creating not one, not two, but three amazing villains: Pathetic

[bixels]

I've been making the transition these past few months, but I think I'm gonna just move back to Tumblr. My Twitter's follower-base has reached a point where I can't tweet anything casually opinion-related without it overflowing like a toilet. I post a short thread on my gripes with color design in anime and I'm getting QRT'd with "kill this guy with hammers" reaction gifs. Like, damn, this isn't fun anymore. It's not fun to talk about stuff on Twitter in general anymore. I wanted to post some ship dynamic doodles sometime there, but I know I'm gonna get weirdly aggressive takes and reactions. Monkey's paw curls, but I don't particularly like having that many followers.

[poorly-drawn-mdzs]

you are so whimsical i qant to check out this mdzs (..??) because of your whimsical nature thank you sorry im very high and your art moved me emotionally

This is simultaneously the sweetest and funniest thing someone has sent me, thank you.

[god-i-hope-so]

Tips for younger Bucktommy fic writers who're looking to write an accurate characterization, especially when it comes to Tommy (and this post is also for the people who think everything goes too fast with no build-up between Buck and Tommy):

Dating when you're in your 30s and 40s is very different. When you meet a decent person you're attracted to and with whom things go (very) well the first few times you meet, things can go very fast in a very simple way. You know yourself better and you know others better too. So the dating phase can be very short and things can move on to being a real couple and moving together quite fast (if that's what both want). Also, things go even faster when it comes to queer people. In short: less bullshit, more straight to the point.

Love != passion. Of course, it's a generalization but the "passionate" phase of the relationship doesn't last as long as when you're younger. The passion is still there but it's not burning hot, explosive, in the face of the world, "look at us how we loooooove each other", it's more tender. You can have a passionate relationship but it doesn't show the same way as when you're 20. Passion becomes like a slow cooked dish with rich and deep flavors, instead of the rush of an energy drink and 5 coffees in your 20s. Also, it doesn't mean Buck and Tommy can't fuck nasty.

We care less, about a lot of things. Again, it's a generalization and I'm also writing this with what we know about Tommy and Buck. Unless Tommy is hiding his game very well, his personality is pretty clear to me. Look at the date. It was a failure for Tommy, as a gay man who fought his own demons, and others, for years. Yet, he decided to be kind about it. Because in the end, it's not the end of the world. It hurts, sure, but that wouldn't be the first time and he didn't make it only about him. It was also about Buck not being ready. The coffee date was also a good scene. Tommy is almost nonchalant, open. I'm borrowing Ryan's words when he said "whatever happens happens". Tommy went through enough shit to not give this situation the drama that can be easily avoided. And it paid off.

Pouting, sulking, active display of real jealousy, acting like a child (and I insist on the "like a child" because adult can sulk, obviously) = NOT CUTE. AT ALL. I get that the infantilization of adults is very common in fandoms so younger people can relate, and because fic writers often write older characters with younger people in mind as references. But it's not a thing in real life, and when it happens, it's not "normal behavior". Of course they can sulk and pout, but not the same way as a young person would. It's a lot more subtle. Also, in the case of Tommy, he's been shown being very good at communicating what he wants and doesn't want. Buck will dance around the matter more, his frustration would probably show with him being agitated or anxious, being reckless too, because he's just like that, but not Tommy. Make them talk about their issues, even if they go through a period of frustration and miscommunication. Tommy should be the kind of man who will encourage Buck to grow and be better at sorting and understanding his feelings in a mature way but without treating him as a child.

Again, all this could help for an accurate characterization. Anyone is free to write the characters the way they want, go full OOC if you want, it's your fic. This post is just giving some tips!

[cathalbravecog]

the fast guy