#and in away more interesting i think

[anna-scribbles]

emma dupain cheng on the brain😽🎀

more:

[chloesimaginationthings]

What FNAF movie Vanessa’s REAL job is..

[noodles-and-tea]

For the twins in time AU, I genuinely wonder what kind of people the young twins grow up into because of Stan’s/Ford’s influence. Especially if it takes years for the portal to get fixed.

(Sorry if it seems like I already sent this question, I don’t know if it got sent the first time I asked)

I haven’t fully fleshed out how Ford grows up in the past but I do have thoughts on Stan presently

[wu-does-art]

thinking about Nico adjusting to letting himself miss and long for the people he loves. based on these bits from the sun and the star:

" As Nico and Will followed the trogs, he thought about how much he missed Hazel. He was learning to make peace with that feeling. It was okay for him to miss people because that meant he wanted them around in his life. That idea was *very* new for him- he was used to either pushing people away or watching them recoil from his presence." *

" That was the most surreal thing of all... Was he happy? Nico wasn't very familiar with the sensation, but he couldn't deny that he felt wonderful in Will's presence. He even longed for the son of Apollo when they were apart. A funny thing had happened as the two grew closer: Nico suddenly understood all those cheesy, sappy love songs he'd always hated."

[mohntilyet]

still i think the one of the more fun differences drawn between illario and lucanis that was lost would be illario's ability to endear himself to others but serious lack of empathy, vs. lucanis' (self perceived) inability to be charming but how much he cares. it's interesting that the game has gone with the "lucanis' ability vs illario's lack thereof" because i think illario being the dellamorte 'best in show dog' vs. lucanis' attack dog would have made me so unwell.

lucanis is... awkward. he's not unlikable, because he is usually very polite, but he doesn't speak much and only seems to care about the other dellamortes. he once sent viago de riva a knife with no note (who knows what he could have meant by this). he does what caterina asks of him, and by his own admission, cannot say no to her. he is a dramatic and prolific killer, and that makes how untouchable he is even worse.

and the crows like illario, sure, AND he's a good assassin! he's even a good crow! he's so good that he can make lucanis smile, and so he is the charming, sociable one. he's the one that stays in treviso and can be relied upon to care, illario's even the one people prefer over caterina and lucanis!

but illario is decoration. he's the prize poodle, and even if poodles were bred to be working dogs, nobody will ever pick him to protect the house over the german shepherd that regularly mauls intruders. anyways the analogy is getting away from me. the point i'm trying to make is that i want illario to have a different kind of jealousy/hatred that's not just over 'being bad at killing' but also an arrogant loathing for everyone around him that is getting harder to hide, because they've forgotten he can bite and is just itching to rip someone's jugular out. illario is very good at hiding his family resemblance to caterina, while lucanis suffers under his grandmother's, and his own, reputation.

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[bixels]

As cameras becomes more normalized (Sarah Bernhardt encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use cameras because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by manufacturing companies. I paint not because I want a painting but because I love the process of painting. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

if i have to explain to you that using a camera to take a picture is not the same as using generative ai to generate an image then you are a fucking moron.

[gen-toon]

[saintvainglorious]

Fics I Enjoyed in December - DC Comics Fic Rec List

Fell headfirst back into DC Comics for the first time in years this month. Reread some old favorites and discovered some new gems!

Heart, Humble by Betty (Mature, 8k, 2005) Jack Drake deals with finding out that Tim is Robin (poorly, and then not so poorly). THEE canon-accurate Jack Drake-focused fic of all time, this is canon in my heart.

Back then, all the boys his age had hero-worshipped costumed vigilantes. Jack supposes they still do.

Exit Strategy by smilebackwards/@smilebackwards (Teen & Up, 13k, 2021) Tim plans to leave a family he thinks he was never really a part of and decides to train Damian on how to run Wayne Enterprises before he goes. Delicious angst, excellent character work, and fun Wayne Enterprises worldbuilding.

Batman needs a Robin and Batman has a Robin. Tim is just extraneous now, vestigial. He’s a bandage over a healed wound. He doesn’t know what he’s hanging on to. Or: Tim didn’t expect his exit strategy from the Batfamily to involve quite so much bonding time with Damian over Wayne Enterprises bureaucracy.

On the Downbeat by husborth (Teen & Up, 2k, 2019) Bruce and Jason talk while waiting in line at a drive-thru (featuring Gotham-typical violence and husborth-typical gorgeous prose). I've always adored husborth's Star Wars fics and I'm so glad I dipped my toe into their DC works, no one's writing hits quite like husborth.

Jason has recovered his sanity, and Bruce and Jason have recovered their relationship; but there are some things that are hard to forget.

A Zoo for Canines by husborth (Mature, 45k, 2019) Part 2 of Zoology; Dick and Jason try to help Bruce recover from addiction. If you're used to fanon Dick Grayson (cheery, friendly, forgiving) you will not find him here - his anger and pain is ugly, raw, and so fucking captivating.

Dick, Bruce, and Jason head out to a cabin in the mountains, and they handle things about as well as they handle anything.

All the Roofs of Uncertainty by Kieron_ODuibhir/@kieron-oduibhir (General Audiences, 70k, 2015) Dick almost dies and makes Jason promise to take care of the family for him. A masterclass demonstration on how DC fic can square all the wildly divergent canon versions of Jason Todd into a single compelling character.

For all the blood on his hands, Red Hood was never just a villain. And Nightwing never gives up on family, not for good. (Or: The one where Dick bleeds a lot and Jason argues with everybody.)

The Till-Then From the Ever-Since by Kieron_ODuibhir/@kieron-oduibhir (General Audiences, 85k (WIP), 2020) Kid versions of the whole Batfamily mysteriously time travel to the future! I livetexted a friend the whole time I read this so I could yell about how amazing the character writing is; also I'm wildly impressed with how the author deftly handles tons of dialogue-heavy scenes with like 12+ guys in it without anyone going unmentioned.

It began, or seemed to begin, with Jason. Usually that would have meant something in the order of fire and explosion and probably at least one gunshot wound, but for once (as Tim said, sourly), it wasn't actually Jason's fault.

only you will have stars that can laugh by silverwhittlingknife/@silverwhittlingknife (Teen & Up, 9k, 2022) Dick finds out Tim is alone on Christmas and invites him to Babs' Christmas party. Discovered silverwhittlingknife through their galaxy brained Dick & Tim meta essays, stayed for every single line of Chapter 2 ripping out my heart and roasting it over an open flame.

You coming over is possibly the only thing that’s gonna stop me from wanting to punch your dad in the face, Dick doesn’t say. My current Christmas Day plans are 1) pace around at home, and 2) try not to obsess about what Bruce is up to, so trust me, you’ll be an improvement, Dick doesn’t say. Tim's alone on Christmas Eve. Dick finds out, and fixes it.

nerve endings by silverwhittlingknife/@silverwhittlingknife (Teen & Up, 5k (WIP), 2024) Post-Catalina Flores, Dick, Tim, and Bruce go on a (canon-accurate) cruise and dance around their open wounds. This is a glorious example of "he WOULD fucking say that", Dick's voice is so canon-accurate that the angst is even more painful i cri

It's all right, even, to have a foreign hand pressing against his skin, testing him, testing his reactions. He keeps his breathing controlled. Just Tim, damn you, it’s just Tim, don’t fuck it up. Dick's on a cruise with Bruce and Tim. And he's fine. Mostly.

Red Letter Day by silverwhittlingknife/@silverwhittlingknife (Teen & Up, 42k (WIP), 2022) Dick is sure the cryptic scribble in his agenda refers to something he's supposed to do for Damian, but he can't remember what. Mostly about Tim and Dick s l o w l y mending the post-Damian rupture in their relationship, but the whole family is here and Jason, especially, is fucking hilarious.

Dick Grayson, stressed pseudo-parent to a preteen assassin, tries to solve the case of Damian’s Mysterious Wednesday. He never expected it to help him fix his relationship with Tim, too. (… Though only after everything fell apart first.)

Gonna Be A Better One (A Thousand Miles To Your Door) by Traincat/@traincat (Teen & Up, 18k, 2011) Tim and Kon keep dating even after Jack forces Tim to retire as Robin. I reread this fic annually and every time am delighted to rediscover how funny and heartwarming and squee-inducingly kind it is, pure Timkon perfection.

In which Tim quits being Robin, Kon refuses to quit Tim and Ma Kent is full of relationship advice.

last light in a darkened room by bigdamnher0/@bigdvmnhero (Not Rated, 6k, 2024) Tim finds a distressing video of Robin!Dick and wishes that things were different. The whole fic, particularly Tim manifesting a happy ending in the bathroom, is a gorgeously crafted tragedy such that you're left kind of awed at how thoroughly massacred your heart and soul are post-read.

Tuesday morning: a video was uploaded to one of the deep web black markets. The footage, shot on those grainy vintage camcorders. But Tim knew that boy in the thumbnail; his eyes had memorized him, the heft and shape and dazzle of him, imprinting like an afterimage. Or: a brother is a witness; there's your tragedy.

buy back the secrets by sundiscus/@vinelark (Teen & Up, 91k (WIP), 2024) Superboy rescues civilian Tim Drake before learning that Tim is Robin and shenanigans ensue. I spent my whole holiday vacation intermittently screaming at this fic while my family members looked on with vague concern this fic is ADORABLE and AGONIZING and PERFECT please and THANK YOU.

He takes a long, slow breath. Ignores the glares from the other students. “Superboy,” he murmurs. “It’s me. If you’re listening, I could use some help.” Or: 5 times Superboy saves Tim Drake, and one time Tim Drake saves Superboy.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[casscainmainly]

I was going to make a post about how Duke is the only Robin Dick chose but then I remembered that Alfred actually chose him first. Then I remembered that Alfred chose Damian, too, by handing him the suit first in Battle for the Cowl. Then I remembered that Alfred also helps convince Bruce to make Tim Robin. So Alfred essentially chooses/endorses every Robin post-Jason, and weirdly has more of a say in the Robin legacy than either Dick or Bruce.

[dreamofbecoming]

listen i know we all love steve “completely ignorant of queer culture to the point that bisexuality is a surprise” harrington being roasted and educated in turns by robin and eddie, yadda yadda, good stuff. i read “they made a horror version of rocky?” in a fic recently and cackled. also a big fan of “he knew he was bi from the start and just never talked about it” as a trope, love it excellent well done

but what about steve who realizes after starcourt that the most important person in his life now has this thing that’s a major part of her life that he knows nothing about, and what if he fucks it up? what if he says something ignorant or rude by accident, and hurts her? what if he loses her because he didn’t know the right thing to say? what if he can’t keep her safe because he doesn’t know what to look out for? absolutely fucking not, this steve says

and listen she’d never say anything, because she can tell that he can tell how much she likes teasing him and teaching him things, so he plays dumb, and she thinks it’s very sweet. but she notices when the zines she keeps under her bed that she buys at that one secret bookshop in indy when she can sneak away on family trips start going missing, always one at a time, and replaced in a few days with another disappearing. and she finds the new ones he must have gone to buy the weekend she was at her aunt’s house hidden in the back of his closet when she goes to steal one of his sweaters. and she notices when he slips more of her queerer movie recommendations into his personal take home pile rather than the movie night stack when he thinks she’s not looking.

she doesn’t notice when he drives to indianapolis after she tries to explain to him why she can’t just ask out a cute girl, tries to impress on him the fear attached to every moment of attraction that he simply has never had to feel, but later she finds a crumpled receipt from a diner in one of his jacket pockets when she’s looking for his keys, and the address is across the street from the bar the gorgeous woman at the bookstore told her about, the one she memorized the address of but hasn’t worked up the guts to think about visiting, and she knows he must have gone looking for a place like that, must have been trying to understand, must have been scoping it out to make sure it was somewhere she could feel safe, after she told him she never had.

so when eddie nearly pops a blood vessel when they clock each other and she mentions that steve is the only person she’s ever come out to before, her hackles come up. because she gets it, she does, he’s only known king steve until recently, so it makes sense that he would be afraid, be concerned for her safety.

but steve is her person, and no one- no one- has ever made her feel as protected or as cared for as he does. no one has ever tried as hard to understand her, no one has ever put so much work into making her feel safe and seen and loved. and she thinks maybe even if no one else ever does, that’s ok. because she has steve, and more importantly steve has her, and that means no one gets to question his ally credentials in her presence without a dressing down to remember, no matter how well they mean or how recently they helped save the world.

(and maybe she’s not as surprised as she could be when he figures out bisexuality all on his own, because she’s been reading all the same pamphlets he has, after all. and she’s seen the way he looks at eddie, i mean come on. maybe no one else has noticed, but then, nobody knows steve harrington like she does.)

[mollysunder]

The Medarda arc of s2 struggled to be good, because the plot viciously smothered it. You can argue that Arcane was never about politics but you cannot say the Medardas were never explicitly a family defined by politics. So when the show shifted it's priorities from a drama steeped in political conflict where even though the setting was fantastical the stakes were grounded to a shift where magic is the end all be all threat to humanity, the Medardas are rendered largely irrelevant.

In s2 Mel's agency over her own story is both largely stripped from her and poorly communicated. Arcane has Mel abducted from the plot to be the Black Rose's captive. Even when Mel manages to free herself it's not through the traits the audience understands are her strengths, her cunning and social intelligence, it's through an innate instinct that natural to her and indecipherable to the audience.

Ambessa as a character is more or less a villain of convenience, which would be fine if she wasn't immediately following Silco's act. Once Mel is removed from the story Ambessa is largely disconnected from any emotional tension fuels conflict between the characters and previously drove the plot in s1. She's there to play the worse bad guy for Caitlyn and then give Viktor the man power for the Glorious Evolution.

It's frustrating to see the Medardas used the way they are in s2 because when they're together I can see how it could be good. When they're together Mel forces emotion out of Ambessa. In Act 1, Ambessa proved she could do circles around Piltover's court, which could actually put Mel in a tight spot.

Their final scene on paper sounds like a good idea where the true resolution to Mel and Ambessa's story was that Ambessa saw Mel's own ruthless behavior as she not only betrayed Ambessa to the Black Rose, but used her as BAIT to double cross LeBlanc. Ambessa died proud that her daughter killed her the way she did, and that's so cool and tragic, but the execution was a flop.

One, their final fight is completely unimportant to the actual Glorious Evolution, Mel's grief can't even be a highlight because it's interrupted by Viktor's mind trap. Two, their fight didn't rely on any of Mel's actual strengths, just magic and the poorly explained MacGuffin LeBlanc gave her. How did Mel even know it would do that?

It's like the writers had the bones for a great story for the Medardas, but then they're like the world's worst archeologists and fit those bones together in the worst way possible because they were convinced the bones made a stegasaurus instead of a T-rex or something.

[cruelplatonic]

actually i think it's interesting that practically everyone's interpretation of valentino is that he has severe substance abuse issues & is high 50% of the time, when in the show he's shown disparagingly talking about addicts in a way that implies he doesn't see himself as one. and i'm not using "interesting" as a substitute for "oh boy do i fucking hate this" i just genuinely think it's fascinating. the juxtaposition of him looking down on addicts while refusing to acknowledge his own substance abuse problems is direly under explored and it's like, Right There. it's prime character study material

[s0fter-sin]

god the way ghost’s voice drops when he tells soap, “you’ll need to improvise to survive”

before that, everything he says is steady but when he acknowledges that soap’ll have to do something outside his skill set, something he intimately knows to be difficult, his voice wavers. he does the same when he says, “welcome to guerrilla warfare”; it’s sombre and serious in a way he doesn’t act for the rest of the mission. if you read into it enough, he almost sounds apologetic; like he knows exactly what soap’s about to go through and wishes he didn’t have to

he keeps soap going; poking at him and making jokes, giving him tips and asking about his progress. he never lets him stop and take a second to think bc he knows the moment he does is the moment it'll all hit him; the betrayal, the pain, the fear, the deaths, all of it will drown him and if that happens, soap won't make it

he needs him to be a soldier through and through and he knows this is one of the worst kinds of battlefields you could end up on

and the only times he slips is when he acknowledges that fact

it happens again when he says, "tryin' to get you here alive and in one piece". his jovial dark humour facade drops for just a moment when he has to face the potential reality of losing soap. then he tries to pick it back up again with, "one of us has to survive to tell the tale"; completely discounting himself as a survivor to try and rally soap and make him think it’s all down to him

and soap does the same thing

when he's calling out for ghost on the radio, he's tentative, testing the frequency, then when he doesn’t get a response, he grows desperate; "ghost, this is 7-1, do you copy?"

then when ghost answers, he smooths out his voice; he hides the pain, the fear, and no matter what response you give to ghost asking if he’s injured, soap brushes it off (“i’m good”, “what’s the difference?”, “i’m not a medic”). soap decides it’s in ghost’s best interest to hide the extent of his injuries

he doesn’t know where ghost is, if he’s secure, if he has any weapons; he doesn’t even know if he’s in las almas until he says, “there’s a church, i’m headed to it”. for all he knows, he could’ve run in the complete opposite direction. if ghost knows he’s hurt, then his attention would be split between his own survival and soap’s

and soap, who lets himself be poked and prodded towards the church, needs to hide his own doubts. maybe he needs ghost to believe he'll make it so he himself can believe it ("what are my odds?" "don't make me bet against you", "think i'll live that long?" "probably not")

he all but begs ghost to tell him he'll get through it and if he knows just how bad off he is, maybe he'll change his mind. maybe he'll think he won't make it to the church

maybe he'll leave him alone for good

"you injured?"

"i’m good"

"let's find out how good you are"

[mohntilyet]

Wait is the middle picture from those three sketches that one scene from the wigmaker job?

yes! it's this specific passage where lucanis is just seething with rage and trying to keep a lid on it, and illario's a stablising, comforting presence. BROTHERS!!!!! <3 though i chose to draw his hand on his shoulder rather than his arm i guess. artistic liberty!