#and THAT since killing joke
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qcomicsy · 1 year ago
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The thing about Batfamily that makes them hard to write is that they are a family on every sense of the word. But not a function one because none of them are functional human beings.
They all have flaws and their own shit to deal with regardless of what they are inserted into. So their interactions should be nuanced and with intention. Also, understanding all the character motivations and background.
I mean what do you want to pass? Why are they interacting like that? Where the time line is right now for them?
The huge critic about batfam before is that it got so much edgy it became out of character. But taking of the edgy does not mean taking all the nuance and hurt that comes from their history and intrinsical points of their characterization.
Personally I think the batfam is less "Were all family <3" and more "We're trying to be despite it all."
DC like "ah, I see you're yearning for DC content that's actually fun to consume! how would you like all your favorite hard edged characters ground into a fine, flavorless paste?"
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dailyeohkakyoin · 11 months ago
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the crusaders do have a healer.
they don't like to talk about it.
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gloriousmonsters · 1 year ago
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love when you can ask the Narrator why the Princess is a Princess and he's like 'well i uhhhh YOU did that. maybe it's because uh... something something about her being above you... but still approachable... look i don't want to analyze or anthropomorphize your--' my guy. i am a primal being of Order and Eternity and Shaping. You're the one who convinced me I was some dude and were quite willing to take credit for shaping my view on the world through narration five seconds ago. Are you gonna look me in the eye and tell me the desire to interpret something worthy of adoration and more powerful than me as a dommy princess is written in the very nature of the universe or are you going to show me your browser history like a man
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vexedmilky · 6 months ago
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"We need more male SA rep!!!"
Y'all couldn't fucking handle them
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decaffeinatedpartymuggoop · 8 months ago
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Luke being Percy’s bi awakening is starting to make more and more sense cause why did Percy compare every attractive man he met to him 😭
He met Apollo and Hermes, two very attractive gods and went “You know who you look like! Luke Castellan!”
He was missing his memories, homeless, didn’t even KNOW who Luke was and when he met Octavian he was like “mhm, your a kinda cute pale white boy with blonde hair. Wait! You remind me of someone…”
Like Percy idk man maybe all that hate for Luke stems from somewhere else
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erinwantstowrite · 4 months ago
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Peter chews hard candy like they're soft much to the horror of everyone else. I just know a jawbreaker hates to see him coming.
i have been trying to figure out for this entire fic when i could have peter biting metal or a jaw breaker or something because it's so fucking funny to imagine peter mid conversation with someone and he pops a jawbreaker into his mouth and bites down and it crunches and the person stands there in horror thinking "this kid doesn't know about jawbreakers and he just broke his teeth holy fuck... wait a fucking minute."
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moeblob · 4 months ago
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North and Simon: (shaking hands on killing Simon potentially)
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casscainmainly · 5 months ago
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For no reason at all, here's Cass punching Dan Didio.
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jaggybot3000 · 9 months ago
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see, chonny jash is amazing bc you'll hear the most resonating lyrics you've ever heard in your life played to the most ascending music you've also ever heard in your life and then look up at the music video you're watching to see the actual black and white outline of the steve-o laughing meme played completely straight alongside the lyrics. absolutely unreal, chonny jash is memes/shitposting first, godly music second
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mrdompler · 7 months ago
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people getting upset at seeing charlie's girlfriend again is really fucking funny because literally she hasn't done anything. what did she do
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st4rstudent · 2 months ago
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my contribution to that one text screenshot
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featuring more of the Cone
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ariadne-mouse · 9 months ago
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Alert: this is a very stupid post and not to be taken seriously.
So when it was revealed the first attack on Keyleth was Ludinus trying to test drawing out Vax, folks were pointing out that Ludinus would have had to stay up to date on Vox Machina romances in order to have the information to make that plan, which is very funny. I posit an additional hypothetical: if the preliminary attack had accidentally been fatal for Keyleth herself (I say accidentally because Ludinus would want to wait to execute the plan in full later, so wouldn't have killed her then) then Ludinus would have lost his bait and would have to figure out another way to draw out Vax.
And you know what that means. Matchmaking. Get the sad bird man to fall in love again so he can threaten the new person. Ludinus using every iota of his skill in manipulation and patience and influencing of events to set up Situations, and he needs it because as a celestial champion Vax is not just walking around into your average coffee shop. He becomes the king of tropes. He reads trash romance to get ideas and runs into Caleb at a naughty book store in Rexxentrum and it's very awkward for both of them. With centuries of experience and villainy, HOW has it come to this-
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izuizzy · 4 months ago
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I'm finally posting Jax~ He's Vanitas's s/o hehehe (mainly in good timeline but he's also in the canon) Prns are He/They, he's a tasmanian devil btw if you're wondering
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divvy-div-art · 9 months ago
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fortnite duos can really give you whiplash
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utilitycaster · 11 months ago
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The narrative of D&D
Fantasy High Junior Year has made its exploration of the tropes, mechanics, and structures of D&D readily apparent, perhaps even more so than the earlier two seasons. This is unsurprising for a show in which the characters are, in-universe, extremely aware of their mechanics and indeed in a high school intended to develop them. And yet, while Brennan Lee Mulligan pokes at these structures, the story still rests squarely within them.
This is not accidental; in longer form narratives (and Fantasy High as an overall story certainly is one, though each individual season exists in a strange no-man's land of campaign length) there is a distinctive pattern to the D&D narrative, one that is outright stated in the player's handbook. D&D is a progressive advancement game; characters grow in power and in sociopolitical import as they level up. They begin, even at level 1, as exceptional people (no commoner stats for them) and are destined by the fact that they are in a D&D game for greatness. There are things D&D supports well; travel, social interaction, one-time skill use, and combat. There are things it does poorly, notably downtime and stories that are not built along the lines of heroic fantasy.
I think this is a value neutral statement, in that I think that trying to avoid playing D&D while playing D&D is a futile exercise; your character will become more powerful while playing it and the only way to avoid gaining this power is to play a different game. I also think that while D&D has the potential to comment on our world from a new perspective, as most speculative fiction does, and is certainly not without flaws, that conversation is one for a later date. The structure exists; like it or not, it exists. There are other games to play that support other stories.
Fantasy High is direct in its engagement: characters are aware of their classes. They learn about the conventions thereof in their high school coursework, and must justify their multiclassing, both with their current level of power in their base class as well as with what they have done (both narrative and mechanical justifications). The antagonists of Junior Year are the Rat Grinders, explicitly commenting on Experience vs. Milestone leveling; several characters provide an eye into such D&D player tropes as min-maxxing and focusing on RP vs only on the game and mechanical elements. The Seven, set in the same world, operates on a similar premise; the party risks being broken up because half are still in high school and they would not survive a split of that level. Adventurers at the Aguefort Academy must adventure, and both the humor and deconstruction come from the juxtaposition of the conventions of D&D with the typical life of a high school student. The characters do level up; they do become more recognizable; they do have to save the world, repeatedly.
A somewhat subtler deconstruction comes in the form of NADDPod's first campaign, or as it was introduced, The Campaign after the Campaign. As envisioned by Brian Murphy (a player in Fantasy High; it is perhaps relevant that the two shows both began production around the same time), the world in which it is set is grappling with the aftermath of the "campaign" of the three legendary heroes Alanis, Thiala, and Ulfgar, who had slain Asmodeus, among other feats. While this ended a war, it set off several crucial events. Most centrally to the story of NADDPod, Thiala, disillusioned with her role as the healer, broke her worship of Pelor and used the heart of Asmodeus to ascend to godhood; she would eventually become the final antagonist of the campaign. However, the death of Asmodeus also set off a power vacuum in Hell. NADDPod's third campaign is set two centuries after the first, and the new legendary heroes (the Band of Boobs of the first campaign) have been dealing with the aftermath of an extraplanar war of the gods; Mothership, the main antagonist, arose in Thiala's wake. This is all typical actions leading to consequences, but the idea that the butterfly that flapped its wings was the resentment of someone having to play the cleric is notable (and is directly contrasted by Emily Axford's Bahumia characters, who openly embrace healing and support casting, breaking Thiala's cycle while cleaning up her mess.) But NADDPod too is heroic fantasy, even with the science fantasy elements present in the second season, and even slots nicely into the PHB tiers.
Critical Role does not, per se, strive to deconstruct in the same way (though Matt Mercer does provide some direct retorts to Forgotten Realms lore, particularly that of drow). But like NADDPod, the consequences of past campaigns influence subsequent ones. Campaign 1 is very easily recognizable as a classic "gain influence and power" story, and while Campaign 2's heroes the Mighty Nein retain a refreshingly low profile throughout the story, it does still progress in a typical way, though in a rather more self-directed manner.
Campaign 3 is interesting, in that it initially deviates from some of the more classic tropes of early D&D, but ultimately succumbs (to its benefit, in my opinion) to the inertia of the heroic fantasy arc. Bells Hells do not work their way up from level 1 or 2 taking on odd jobs; they begin the campaign by joining up with a benevolent patron, and several party members have pre-existing powerful connections. They receive the use of a skyship by episode 22 and level 6 (something even Vox Machina considered having to steal at level 13) and inherit it not long after. And yet: despite this, and a pivotal set piece of the apogee solstice in which a comparatively low level party plays a part among many factions, following a brief split the campaign begins to run on more familiar tracks. For all the early privileges the team enjoyed and the theological debates they engaged in, they ultimately find themselves in a position identical to that of the archetypal Vox Machina: facing an evil wizard who, after a rushed solstice ritual mid-campaign, only partially unsealed a long-imprisoned ancient deity of manipulation and destruction and now wishes to finish the job. One must assume Delilah Briarwood is appreciating the parallels from within Laudna's psyche.
Worlds Beyond Number is a player on the scene to watch out for, especially because Mulligan has shown himself to enjoy playing with these tropes and his players are all immensely knowledgeable and experienced players (and in Aabria Iyengar's case, DMs) themselves. Rather like Bells Hells, two of its three characters are coming in already in storied positions, despite being level 2, and it will be interesting to see if it bucks the trend. I don't think it needs to. I think there's plenty of variety to be had within this subgenre, and I think a quiet pushing at the boundaries is frequently more effective than full-scale subverstion. But should that be the plan, it will take a lot of work; even with immense awareness of the path D&D sets forth it seems DMs - and players - tend to stay on it.
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tethered-heartstrings · 1 year ago
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people who entirely blame jack for what happened with will didn't watch the same show. as the audience, we see that will isn't sleeping, and that hannibal lied about his stability, and will's blackouts and sleepwalking. we are an outside observer privy to information other characters don't see. jack only knows what is told to him, he can't read minds. he can't know how bad will is doing if will doesn't tell him. he trusts will is a grown adult who will take care of himself. a socially and professionally trusted and admired medical professional tells jack that will is fine! what reason does jack have to not believe that will is capable to not only do his job but make the sound decision to stay or go. why is jack the bad guy here?
and regarding will getting arrested, ALL the evidence was against him. he had no memory and no alibi for the murders he was being convicted of. he was at sutcliffe's office when he was murdered, after hours, when no one else (supposedly) was there. he was the last person to see georgia alive. he knew he went to minnesota with abigail and came back without her, no memory of leaving but the hallucination of having killed her. he threw up her ear. flesh and bone and hair of every victim was woven into his lures, a hobby that everyone knew he had. what exactly was jack supposed to think? was he supposed to ignore evidence? it would be against all logic and common sense to just assume will was innocent. even will doubted his own innocence. ofc we, the audience, knew he wasn't guilty, but jack can't see what we see. he even risked his career, against his better judgment, to help will. he had no reason to, but he cares about will. he cares about him a lot, and a lot more than people give him credit for.
jack cared about will deeply, saw him as a friend, for the entire show. giving him the benefit of the doubt up until the very end. the confidence he has that will is a good and trustworthy person in the last episode gets him mocked for "not seeing will as he truly was" but when he assumes will is a killer in s1 people also get mad at him for not having *enough* confidence in will. which is it?
jack is a good agent, a good friend, and did what he could given the tools he had to do his job. he can't help people who refuse his help (aka will), he can only try so much.
and hannibal is a master manipulator. he played every single character on that show and had them convinced he was normal and safe, sometimes for years. every single person who outright blames jack for everything got as manipulated by hannibal as jack did! because hannibal planted distrust between will and jack, and with the audience and jack. if you think jack is the problem, congratulations, you got played by the villain of the show.
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