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sundayiminlove · 1 year ago

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sleep, pretty darling [ dallas winston x f!reader ]

synopsis : you're overworking yourself with studying in preparation for exams, and dally isn't havin' it. contains : academic overachiever reader, whipped dallas winston, mostly just tooth-rotting fluff, notes : first writing post on here, kinda (very) nervous!! think i'm gonna make a point to write for each greaser in effort to shoehorn my way into outsiders tumblr?? yeah??? okay, GREAT. 99% chance i post something different for dal tho. just a messy, silly little drabble. ironically wrote after not sleeping for 32 hours. i'm sorry if he's a lil ooc y'all, this is my first dal fic in give or take a year!!! he'll get there, i promise! mwah mwah hope u enjoy warnings : not proofread, we die like dally

PALE BLUE EYES slant sideways, casting a brief look at you.

Your nose is scrunched in concentration over the comically large textbook laid open in your lap. You're hunched over, tracing under each printed word with your finger, thumbing down when you stop to take a note.

Dallas is preemptively annoyed. He's been leaning expectantly against the doorframe circa ten seconds ago, and you're yet to notice him. He takes one last dramatic drag from his cigarette before begrudgingly discarding it on the outsole of his shoe. The creases on on your nose tighten as you catch a whiff of the wafting smoke. Though a vehement anti-smoker yourself, you've spent enough time around the gang to guarantee your lungs at least a permanent char. Despite this, you always just have to make a big song and dance of your distaste for them, and Dally does nothing to curb the quirk of his lips into a slight grin.

You have him, hook line and sinker.

"(Y/N)," he speaks at last. His tone is firm yet without underlying aggression; one exclusively for your ears.

You perk up.

Dallas' fingers splay against his lips as if holding a phantom cigarette. "What're you doin' over here so late, huh? Was out lookin' for you."

He watches as your gaze darts to the window. Nightfall has long since kissed the apex of Tulsa, yet you hadn't a clue. You'd been there for hours, crunching equations and fruitlessly jotting down formulas. The encroaching weight of finals week had rendered both your circadian rhythm and measure of passing time nugatory.

"Borrowin' one of Darry's old textbooks," you explain, the corners of your mouth tugging into a frown. "Not exactly a monastery but it beats that old Soc-infested library, long as Two stays gone, that is."

He crosses the Curtis' living room in four smooth strides, plopping down next to you on the couch. The flimsy cushion sinks beneath him, forcing you closer to him, and for once, Dally's grateful for the pathetic old thing's lack of structural integrity.

He lifts the textbook, ignoring your whimper of protest and sets it on the coffee table. He spins the silver band on his knuckle, averting his gaze downwards. "You know, sweetheart," he pauses, choosing his words. Dally wears his worry uniquely, sparingly. "I'm not particularly likin' all of these.. these books, and.." he trails off, thumb tracing your newly-formed eyebag as if he could swipe it clean. "When's the last time you got any sleep?"

Things are different. You're his girl now. And not just his pretty skirt for the night and until 7am after; no, this is serious. You're his girlfriend. His lover. It's foreign. It's enthralling.

No one had told poor Dallas that falling for you would unwind a deep vortex in his brain that noticed the trivial things, like how suspiciously little you blinked or how the vibrant pink in your cheeks had drained.

You lean into his touch with an exasperated sigh. "Dally, c'mon, don't you start this. I know it's nothin' to you, but it's finals week!" you huff. "I'll catch up on the sleep, swear it! I just, I got so much left to do here, and,"

Your defense falls on deaf ears. This has been it for weeks now; and the you-sized hole burning in his chest is only getting deeper. Dally's arms encircle your waist as he taps gently on the small of your back. "Don't give me that," he sighs. "God, baby, you're worryin' me, alright? Don't like seeing my girl so..." he fans his hand outwards.

As you tense and start to fly into another excuse, he shakes his head, mind already made. He's sparing no more of your attention. "You're comin' back to Buck's with me, alright?" His timbre leaves no room for argument, but you squirm regardless. His grip on you tightens. "And I'm making sure you get some goddamn rest."

You pout, looking over at your textbook as if it would personify and save you. "But," you start, only to be hastily shushed.

"But nothin', doll. C'mon, up ya go,"

With that, he scoops you up, one arm hooking around your legs. Your series of half-hearted protests are nullified as he secures you into Buck's old truck, movements careful yet hasty. You inevitably surrender, a soft sigh escaping your lips as you lean back into the torn leather.

BUCK MERRIL'S HOUSE is as quiet as Buck Merril's house is capable of being. You've never been to Buck Merril's house, so you don't find it very quiet at all.

Running his hands over the blanket, Dallas spreads it out on the floor, smoothening out the crinkles and corners. They reform almost immediately and he sighs heavily, airing it out on the pummeled mattress in defeat. If he would have know he'd be conducting a full-scale kidnapping for the sake of your rest, he might have better prepared. Might have.

So, here's the thing, right?"

There have been girls in Dallas Winston's bed before.

There have been quite a few girls in Dallas Winston's bed before.

There have been zero girls in Dallas Winston's bed that he didn't bring into it with meaningless sex on the horizons.

You're no snob and he knows this, but now, it's the principle. Dallas Winston may sleep on a mattress deficient of ample springs and no top sheet, but Dallas Winston's girl should never. In spite his hazy, rose-colored, Y/N-centric world created under this roof, he knows he has to step it up.

As soon as he hears the faucet cut off, he's off his feet. He flings himself onto the mattress, hitching one leg up as he awaits the slow creek of the door.

And there you stand.

Dallas wonders what karmic debt is being paid off for him to deserve to see you like this. His lips part as he drinks in the sight of you like a man dying of thirst. You, in his lightly wrinkled grey tee that scarcely conceals your bare thighs. Your face glistens with renew, a few stray droplets racing down your forehead and cheeks. Even trammeled by exhaustion, you knock the wind right out of him.

You wear the moonlight beautifully. It traces each feature so delicately as you sit beside him on the bed. "I'm—," you start, but pause to let a little yawn. He practically melts beside you.

"I'm sorry I gave you such a tough time, darlin'," you continue, situating under the blanket. "You were right, I'm proper beat."

He smirks, propping his head up to look down on you. "As always," he notes, tucking a fly-away hair behind your ears. You roll your eyes and give him a playful jab, to which he winces in mock affliction. "Some nerve," he hums, thumb tracing your cheek.

You look at him, lips parting gently. This isn't Dallas Winston; that infamous, no-good hoodlum from the wrong side of the tracks. This is your Dally, someone you alone have the absolute pleasure of knowing.

"That's it," he whispers as you surrender to his side, nuzzling his neck. Your eyes are heavy, faltering by the second, yet your grip on him is unyielding. He's never felt a thing like this before, and he's quickly becoming putty in your careful arms. He's content to lay awake all night, watching the gentle rise and fall of your chest as slumber claims you.

His gangly fingers trace idly on your back, and he knows. He will never be the same.

#the outsiders x reader #dallas winston x reader #dallas winston #dally x reader #dally winston #the outsiders #sundayiminlove #felt cute might delete later #golden slumbers #dallas x reader #dallas winston fluff #dallas winston cuddles #dallas winston imagine #matt dillon #matt dillon x reader #♪ rowan writes outsiders!!

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fountainpenguin · 7 months ago

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My favorite thing ever about Anti-Cosmo and the Head Pixie is that you look at Anti-Cosmo and it's like-

"Oh, this is the stereotypical evil villain who is flamboyant, intelligent, suave, and in control! All the other magical antagonists probably defer to him." And then you actually watch him and he does stuff like-

Throw away his wand

Fly in circles at record speeds

Run away from confrontation

Write with colored pens and change color every sentence

Throw paper airplanes

Crash into things

Throw tantrums

Read comic books

Fly a private jet despite being able to fly and teleport

Keep cows in his castle

Keep a cat in his pocket

Stand on the fancy dining table

Pretend to be a scone

Break character as a scone by running away laughing

Defer to H.P. even in his own castle

Defer to his son even in his own castle

Raise an anti-fairy child with H.P. for some reason that's never explained, but which Jorgen has photo evidence of ?? You raised an anti-fairy with the leader of the Pixies ??

Also, knows H.P. and Jorgen well enough to recognize when Jorgen is actually H.P. in disguise??

And there's H.P. who wears a nice suit, works at Pixies Incorporated in the big city, and talks about puppeting people, so you approach thinking "Okay, this is the strict boss who wants all the paperwork filed. He represents why you shouldn't make deals with fairies because he has all these complicated contracts and he's not going to allow wiggle room. Dull and boring; got it."

But it turns out he likes to-

Go to raves

Sing rap songs

Breakdance

Spin on his head and drill into the floor

Wear flowers

Get drunk

Hang out in the hot tub

Climb on people's shoulders

Build miniature models

Fist bumps and finger guns

Call people "Dude"

Draw skulls on things

Say "Gasp" instead of gasping

Get up from his desk and dance around, announcing in monotone "Go me, go me; it's my birthday"

Listen to someone argue with him and then respond with "No, that's hilarious"

Also fly a private jet despite being able to fly and teleport

Elbow people in the side while teasing them

Feed you pizza by shoving his entire hand in your mouth

Stand right in front of you and prank call you

Wear two hats at the same time

Hop on a flying scooter, announce "The only thing you'll be eating is my dust! Later, dude!" and peace out

Complain too many people like him

Use babies as yo-yos

Also, H.P. won a footrace against Anti-Cosmo?? This man made the conscious choice to run instead of fly and he won!?

And that's not even getting into the cross-dressing or the fact that A.C. and H.P. grab each other and hug when they're scared. 10/10 character design. They are so silly...

#Fairly OddParents #FOP #Anti-Cosmo #Head Pixie #The Fairy Oddlympics #FAIRIES!#The bat with the hat #I'm wasp dad trash #screenshots

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scary-grace · 3 months ago

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Off-Script - a Shigaraki x f!Reader fic

Tomura's been Dabi's stunt double for almost a decade, and he's not easily impressed, but when he squares up with you for a fight scene, he finds himself caught off-guard in more ways than one. As the shoot progresses and sparks fly between the two of you, Tomura has to decide if you're worth the risk -- or if the best sparring partner he's ever had is all you'll ever be. (cross-posted to Ao3)

This is my second fic for @threadbaresweater's follower milestone event, with the prompt 'summer blockbuster'! As usual, thank you for running this event and congratulations on the milestone!

Chapter 1

“No.”

“No?” Midoriya Izuku repeats. He taps his headset, like there’s something wrong with it instead of what Dabi just said. “What do you mean?”

“I don’t do swordfighting,” Dabi says. “It’s in my contract.”

Midoriya looks baffled, just like every newbie director who’s ever hit their head against one of the batshit provisions in Dabi’s contracts. And Dabi’s not anywhere close to done with kicking the director around. “How come I’ve got a sword, anyway? Quicksilver didn’t have one in any of the other movies. Or the comics.”

In Tomura’s opinion, Dabi should keep his mouth shut about what happens in the X-Men comics. Everything he knows about the comics and the character he plays is something Tomura had to explain to him way too many times, in detail. “We’re rebooting the Apocalypse arc,” Midoriya says. “The premise is that Apocalypse rises in every age – long enough for people to forget about him in between – and the same characters have been fighting him the whole time, reincarnated over and over again. Only this time it’s different, because four of those characters have been chosen as Horsemen, and they’re fighting for Apocalypse, not against him.”

“Great. Why is there a swordfight?”

“In the original arc, technology provided a boost to the anti-Apocalypse forces,” Midoriya says. “By setting it in the Iron Age, we’re taking that advantage away. That’s why everyone has weapons. Including Quicksilver.”

“Cool.” Dabi lights up a cigarette. “I’m still not doing it.”

“But –”

“That’s what I pay him for.” Dabi jerks a thumb at Tomura. “Talk to him.”

Tomura’s been Dabi’s stunt double for basically all of Dabi’s career. Most stunt doubles stick to stunts, but over the years, Tomura’s role has expanded from stunts to include anything Dabi doesn’t feel like doing. Swordfighting isn’t a stunt. It should be well within Dabi’s skills. And it is – he just doesn’t want to do it. Which means that Tomura’s up.

Midoriya looks at Tomura hopefully. Tomura levers himself up off the wall and rolls his shoulders. “Yeah, okay. Let’s go.”

Midoriya follows him to costume and makeup, yapping the whole way, trying to figure out what he did to upset Dabi so much. Tomura thinks about explaining that it��s not Midoriya’s problem and Dabi’s just like that, then decides against it. Midoriya’s the one who decided not to recast Quicksilver, and Dabi isn’t exactly known for being easy to work with. He made his own bed. Tomura’s not here to tuck him in, and he’s not here to make excuses for Dabi. He’s here to do stunts. That’s it.

Quicksilver’s costume isn’t skintight, which makes it miles better than any of the other Quicksilver suits Tomura’s had to wear since Dabi was first cast in the franchise. It’s his first time in the outfit, so he asks the costumer about it. “There was no Lycra in the Iron Age,” Magne explains as she stitches one last panel into place. “The director wanted historically accurate materials. And the SFX team threatened to quit if they had to edit any more bulges out of the shots.”

That’s a relief. Whenever a new movie in the franchise comes out, the fan blogs make lists ranking all the bulges, which is awkward at best and career-threatening at worst, given the one time a list used a shot where Tomura was doubling Dabi and ranked it higher than Dabi had ever placed on his own. Midoriya is deeply weird, even as far as directors go, but Tomura will take the wins where he can get them.

He tunes back in to what Midoriya’s saying as Magne screws around with his hair to mimic Quicksilver’s signature look. “Who am I fighting again?”

“Psylocke. You read the script, right?”

Sure, Tomura read the script. The script isn’t the problem so much as the fact that the actress playing Psylocke quit last week. “Did you find a new one?”

“Of course!” Midoriya brightens up creepily fast. “Right, you should meet her! She’s – um –”

“Up at the site already,” Magne says, spraying Tomura with hairspray without warning him first. “She was pretty quick to costume. I didn’t even have to put her in a wig.”

Midoriya beams. “She’s great,” he says. “We’re lucky we found her on such short notice.”

“Who is she?”

Midoriya says a name Tomura’s never heard in his life. Magne hasn’t heard it, either. “Come again?”

“She’s on the newer side,” Midoriya says. His smile’s looking a little insane. “Are you ready yet?”

“Just a sec.” Magne sprays Tomura again, then attaches three motion-capture dots to his forehead. “There we go. All set.”

Tomura stands up, but he doesn’t get clear fast enough to avoid Magne’s customary ass-slap. “Break a leg,” she says.

“Thanks.” Tomura slinks out of the costume tent, already in a mood.

They drive to the site in one of the various beat-to-shit Jeeps Midoriya inherited from the person who directed the last X-Men movie. Midoriya drives, which is bad all on its own, but halfway there, Tomura realizes there’s someone missing. “Don’t we need Aizawa on this?”

“Aizawa’s choreographing the first big fight scene. Most of the actors haven’t done real swordfighting before, so it’s taking a while.” Midoriya’s grip on the steering wheel goes white-knuckled in a way that makes Tomura wonder if he should be bailing out of the car. He’s pretty sure he can do it without getting a single bruise. “Even if it’s just for a few tracking shots before we cut away to you – sorry, Dabi – chasing Psylocke, it needs to look good.”

That’s fair. Tomura hates a lazy background shot, on the rare occasions when he watches a movie. Midoriya glances at him. “I know you said you read the script, but – give me your take on what’s going on in the scene.”

Tomura’s heard Midoriya ask people that before. Correction: He’s heard him ask actors before. “I’m not an actor.”

“There’s not a ton of dialogue in this scene. The physical aspect has to tell the story,” Midoriya says. “So?”

He’s not going to let this go. Tomura decides to get it over with. “During the main fight, Psylocke lifts the artifact everybody’s fighting over and runs. Quicksilver goes to catch her, but she uses her mutation to slow down time around him, which puts him on the same playing field as she is. They fight, he pulls her mask off, and figures out she used to be on his side. Then she cheap-shots him and escapes with half the artifact. Did I get it?”

Midoriya nods, but he’s frowning. “Quicksilver and Psylocke are foil characters in this interpretation of the story. He’s Magneto’s son and she’s part of a family of heroes. When they recognize each other, it should be a shock – they’re not just seeing a friend who’s now an enemy, they’re each seeing the person they should have been. So the back half of the fight should, like, reflect that.”

Tomura doesn’t do emotional turmoil. “You want Dabi for this.”

“That was the plan,” Midoriya says. He sighs. “Just – do your best, okay?”

Tomura was doing high-wire stunts while Midoriya was still in high school. He doesn’t need hyping up for a swordfight he can do in his sleep. But just because he can do it in his sleep doesn’t mean the actress Midoriya pulled out of a cattle call will be any good at it. “Does Psylocke 2.0 know what she’s doing?”

“That’s why I picked her.”

Huh. Tomura crosses his arms over his chest and slouches in his seat for the remainder of the ride.

The site is up on a bluff, in a stretch of forest thick enough that barely any sunlight gets through. “This is supposed to be a nighttime scene, but thanks to the tree cover we can fake it,” Midoriya explains as he parks the Jeep and scrambles out. “Hey, guys! Over here!”

The crew looks like they’ve been waiting a while. Tomura knows most of them after spending the last seven years on the sets of various X-Men movies and hanging out at C-list afterparties. Of the group, he really only gets along with Spinner, who handles props. Everybody else is just someone else to be irritated with when they inevitably start bossing Tomura around. He props his feet on the dashboard and waits for something to happen.

“Psylocke! Quicksilver! Over here!”

Midoriya’s beckoning to him. Tomura forgot about Midoriya’s habit of using character names during shoots, and he thought Dabi was just using it as something to bitch about until right now. It’s annoying as hell. Tomura gets out of the car and skulks over, but someone else gets there first. Midoriya’s talking to her as Tomura approaches. “I know the script says you’re shooting with Dabi, but he, um, doesn’t do swordfights, so he sent his stunt double instead.”

“Oh.”

“It’s not you,” Midoriya says hurriedly. “He’s just having an off day.”

“An off year,” Tomura corrects. Midoriya jumps, steps aside, and gives Tomura his first look at you.

He sees right away what Magne meant about your hair – you match Psylocke’s design from the comments in length and color, even if the texture’s wrong. You’re a little shorter than the original actress, and you don’t look like an actress, even though the makeup artists already got to you. Actresses in big-budget films look a lot like each other, because they’re all wearing the same makeup and getting the same plastic surgeries, and they’re all the same kind of hot. You look way too much like a person. Like you should be behind the camera, not in front of it.

As Tomura sizes you up, he’s well aware that you’re doing the same thing to him, probably having the same thoughts. But you smile and hold out your hand to shake. “Hi. I’m looking forward to working with you.”

Tomura shakes your hand for lack of anything better to do. “Go see Spinner for props,” Midoriya instructs, “and think about how you want to do this. Maybe get in character also? I’m not sure how many takes we’ll get before the light changes.”

“Got it,” you say. “Spinner is –”

“The guy with the swords,” Tomura says. It’s hard not to roll his eyes, and it gets harder when you fall into step beside him. Spinner is waiting for you both behind the props table. “Hey.”

“I was expecting Dabi,” Spinner says, picking up a sword. When Tomura reaches for it, Spinner chucks it to one side and lifts another. “I was gonna give him that one, but you’re better than he is, so I can trust you with this.”

Instead of the kodachi, he’s holding out a tachi to Tomura. “See how you like the balance on that. And for you, Psylocke – one katana, coming right up.”

Tomura keeps one eye on you and your sword while he’s testing the balance on his. You’re not being stupid with it, at least not yet. Holding it properly is the lowest possible bar, but Tomura’s met plenty of actors who can’t even manage that, and at least your grip looks solid. You walk a few steps away to practice sheathing and unsheathing it, and Spinner elbows Tomura. He nods in your direction. “What do you think?”

“What rock did Midoriya find her under?”

“I think she’s a stage actor,” Spinners says. Great. “Mainly musicals. She’s never gotten cast as anything bigger than an understudy.”

Tomura would facepalm, except he’s holding a sword. “Still,” Spinner says speculatively, “the director’s not a total moron. He must have seen something he likes.”

“Yeah. He likes not having to blow the costume budget on a wig,” Tomura says, probably a little too loudly. He sees your shoulders stiffen, and you turn to face him. You don’t look like you’re going to cry or anything, but Tomura’s been wrong about that before. “What?”

“I was just going to ask if you wanted to practice, or if we’re doing it blind,” you say. Before Tomura can answer, you make the decision. “I say blind. It’ll look more authentic if we’ve never fought each other before.”

Tomura likes that idea, if only because the chaos will mask his total lack of acting skills, but he was counting on a practice round to test your actual abilities. Still, it’s your funeral. “Fine by me. I’m not going to go easy on you or anything.”

“I’m glad,” you say, and smile. Tomura already saw you smile once, but it was nowhere close to being this spooky. You have to be doing it on purpose. “I wasn’t planning to go easy on you, either.”

Tomura should say something – maybe along the lines of ‘we just got off on the wrong foot, don’t cut my fucking head off’ – but before he can, Midoriya orders everyone to places. He must have given you instructions ahead of time, because you vanish into the trees, leaving Tomura to follow Midoriya’s hyperspecific directions for hitting his first mark. “We’re just going to roll,” he says, as Tomura steps out of frame and braces himself to run. “I’ll call cut once things go sideways.”

Things go sideways in choreographed fight scenes all the time. Things going sideways in an improvised fight is a guarantee. “Right.”

“Psylocke, are you set?”

“Set,” you call out from somewhere.

Midoriya takes a deep breath, like he’s the one who’s about to start a fake fight. “Okay. Action!”

Fake-running and skidding to a stop isn’t Tomura’s specialty or anything, but he can make it work. He hits the mark Midoriya specified, raises his hand to the hilt of his sword without drawing it, and takes a look around. Right here and now, there’s no reason for Quicksilver to think that someone’s about to attack him. Even Psylocke using her powers to slow him down could just be a tactic to ensure her escape. She’s basically already escaped. All Quicksilver has to do is wait for her grip on time to slacken, and then –

A twig snaps behind Tomura and he throws himself forward into a roll, pivoting as he gets to his knees and drawing his sword in the same moment. You put a lot of strength and a lot of momentum into your first strike, and if this was a real fight, Tomura would be injured or dead. As it is, you checked yourself at the last second, and you take your time settling into your next attack, giving Tomura just a second or two to plan out his own.

No attack yet. His wingspan is wider than yours and the blade of his sword is longer, which means the first step for Quicksilver to avoid a katana through the neck is to get out of Psylocke’s range. You’re not screwing around, so Tomura won’t, either – he picks up a handful of leaf litter, throws it into your face, and gets to a safe distance, remembering at the last second to make it look even sort of stylized. It’s a movie, after all.

You’re taking it seriously. The suddenness of your first attack has Tomura on edge, and the lack of any direction or choreography means he’s got no idea what you’re going to do. They won’t be in the back half of the fight until he pulls your mask down, and haphazard grabs look stupid on camera. He needs to get your mask on the first try, and between now and then, he needs to put on a show.

Tomura strikes at you, and you duck, pivot, halfway inside his guard before he can reverse the strike. But you’re in too close to use your katana effectively – on purpose – and Tomura aims a punch at your torso, hoping you know how to fake a hit. You do. You exhale sharply, jerk backwards, and Tomura separates from you again.

Who the hell are you? Where did you come from? Why are you going this hard? It occurs to Tomura as he parries your counterstrike and returns a few of his own that these are the same thoughts Quicksilver would be having if any of this was real. Now that Tomura’s introduced hand-to-hand combat into the equation, you start using it, too, throwing a high kick that brushes ever so slightly against Tomura’s jaw. Tomura snaps his head sideways to make it look good, then lurches backwards in response to a fake punch to the solar plexus. He’s holding his own, and he’s in control of the fight, but to the camera and everybody else it’s going to look like Psylocke is handing Quicksilver his ass.

And you should be. Tomura underestimated you, then insulted you, and now you’re making him pay. But as interesting as the fight’s getting, it’s a movie, not a grudge match. Tomura shortens his attacks and you step in closer, close enough for him to grab your mask. Or it would be, if your face was where it’s supposed to be. Instead you’ve gotten all the way inside Tomura’s guard, stepped across him, and grabbed his shoulder with your free hand – and now you’re throwing him over your hip to the ground.

You’ve got the physical strength to pull it off – Tomura can feel it – but he gives you some help anyway, making the resulting fall look even harder than it’s supposed to. He lands flat on his back with you poised above him, pinning him down with your katana at the ready. Now would be a great time to grab the artifact, since it’s hanging on a loop around your neck, but Tomura’s got his orders, as stupid as they are. He reaches up, seizes the mask over your mouth and nose, and pulls it down.

You really can act. Tomura watches your expression shift from startled to shocked to something else, and you recoil backwards away from him. Tomura’s slow to rise, because Quicksilver’s supposed to be shocked, too. Dabi’s going to have to deal with whatever character choices Tomura’s making here, and he’s going to be pissed. Tomura doesn’t care. If Dabi wanted to have a say over what this fight looks like, he should have done it himself.

You’re pulling your mask over your face, pressing it down. You’re so busy with it that Tomura almost gets away clean with grabbing the artifact from around your neck. You catch him at the last minute and pull it back, and it splits cleanly between his hand and yours. You take one artfully reckless swing with your katana and Tomura ducks back just a little farther than he needs to. Which is when you turn and run, booking it out of frame and towards the far edge of the woods.

Some camera guy – Iida, Tomura thinks – chases after you. Tomura’s off the hook, but he holds still anyway. He’s gotten yelled at more than a few times for moving before the director’s officially called cut. But Midoriya isn’t calling cut. He keeps not calling it. Tomura can hear him, though. He’s muttering to himself.

“Hey, boss-man!” hollers the unit director – Togata, or something. “Want to call a cut?”

“Oh, oops! Cut! Definitely cut.” Midoriya sounds like he couldn’t give less of a shit. When Tomura turns to look at him, he’s got a notebook and he’s writing furiously. And mumbling again. Tomura’s worked with a lot of directors and more than a few weird ones, and once he rules out the hand fetishist and the guy who wanted the fight scenes to include real knives and real blood, Midoriya’s definitely the weirdest.

You come back from wherever you ran off to, and you don’t seem to think Midoriya’s as weird as everyone else does. “Are we waiting for notes?”

“Huh?”

“After we run a scene in a stage show, we get notes,” you say. You’re not quite breathing hard. Neither is Tomura. “Do you not do that around here?”

“Nah,” Togata or whoever says. “Usually the director just hollers at whoever screws up and makes everybody do another take.”

“Okay,” you say slowly. “Who screwed up? Was it me?”

“You certainly took some liberties with the scene,” Iida says. “The original intent –”

“You want original intent, don’t tell us to improv,” Tomura says. The fight with you was maybe the most intense fight scene he’s ever done. When Midoriya inevitably nixes it, Tomura wants a copy. He addresses you. “It wasn’t you. Somebody on the sound side probably fucked up.”

“Excuse me?” The sound tech – maybe Jiro? – looks like she wants to club Tomura to death with a boom mic. “I fucked up? If you two hadn’t gotten all –”

“Midoriya,” Togata sings out, patting Midoriya on the shoulder. Midoriya jumps. “Hey! Good to have you back! Should we get set for another take?”

“No.”

Mirio looks confused. He’s not the only one. “Are we taking this one back to the drawing board?”

“No.” Midoriya shuts his notebook and looks up, his eyes shining in the crazy way movie people get when they have a really wild idea. “That was the take. We’re done.”

“What?”

“That was it.” Midoriya’s grinning. “It was perfect.”

Now you look weirded out. Finally. “No notes?”

“We need some close-ups, but –” Midoriya grabs his radio and hollers for somebody to put Dabi in his costume “ – you guys did a great job. Like, even the timing – it’s going to be so easy to use those beats for close-ups, and all the character stuff – you were so in sync it was scary, but emotionally you were each totally on your own journey, and it looked –”

“Hey, take a breath. Don’t faint,” Jiro instructs. Midoriya sucks down some air, and Jiro turns to you. “You did your first fight scene in one take. Congrats.”

Spinner lifts the sword out of Tomura’s hand, then takes the two halves of the artifact from both of you. Tomura’s done here for now. He’ll hitch a ride back on the Jeep that brings Dabi up and find a place to nap. Hopefully. He feels a little too keyed up to take a break right now.

You’re still standing there, looking sort of dazed. It annoys Tomura for a second, until he remembers that you’re used to understudying in musicals, not shooting superhero movies. “Hey,” he says, and you startle. “That was a solid fight. You’re better than I thought.”

“That’s not hard,” you say. “All I had to do to be better than you thought I’d be was to not impale myself or anybody else.”

“I haven’t seen you work before today. Sue me,” Tomura says. “You know what you’re doing. That was a really good fight.”

You shrug. It pisses Tomura off. Fishing for compliments always does, and Tomura hates it – but instead of telling you to grow up, he tries to hit you over the head with it for real. “You might not know your head from your ass yet, but I do, and it was a good scene. I haven’t had a fight like that in –”

Years? A decade? Tomura doesn’t think he’s ever been in a fake fight that felt real without actually feeling unsafe. “That’s the best one I’ve done in a long time,” he says finally. “You’re a real actress now. That modesty shit isn’t cute.”

You shrug again and make your way over to where Midoriya and Iida are talking. You’re probably going to ask Midoriya if you did something wrong, and he’ll get weird and reshoot the whole thing. Or he won’t, and he’ll think you’re insecure, which drives most directors up the wall. The fight scene was good on the first take. That never happens. Excuse Tomura for wanting to enjoy it.

“Shigaraki,” Spinner says from behind Tomura, and Tomura looks at him. “That’s not how you talk to girls.”

“Huh?”

“You, like – negged her. A lot,” Spinner says. Bullshit. Tomura knows what negging is. He knows he wasn’t doing it. “You told her she sucks, and then you told her she doesn’t suck as much as you thought she did. And then you trashed her whole career before now –”

“When did I do that?” Tomura’s done with this. “I said she knew what she was doing.”

“Uh, yeah. She took you to the cleaners on camera,” Spinner says. “And I hate to be the one to say this, but you looked really into it.”

What does he mean, into it? Tomura was doing his job. If he doesn’t get into it, he has to do extra takes. “So, like I said,” Spinner continues, “if you want to talk to girls and have it go anywhere, you have to give actual compliments. Not just tell her you’re surprised she wasn’t worse.”

“That’s not what I said,” Tomura growls. He doesn’t like anything about this conversation – not what Spinner’s implying, not what Spinner’s telling him to do. “Since when do you give me advice about girls?”

“Since I’ve gone on a date in the last six months,” Spinner says without blinking. “When was the last time you went out?”

“I’ve been busy.”

“Dabi spent the last six months in rehab. You could have gotten out there,” Spinner says. Tomura glares at him. “All you did was work out and play League.”

“That’s what I was busy doing,” Tomura says. “I don’t need lessons on talking to girls.”

“Sure,” Spinner says. “Give her a real compliment next time. It’ll help.”

It’ll help with what? Tomura doesn’t know what Spinner thought he saw, but whatever it is, it wasn’t there. Tomura doesn’t date actresses. Or actors, in spite of what a bunch of Dabi’s fans seem to think is going on between the two of them. And even if Tomura was going to date an actress, he wouldn’t date somebody like you – somebody new to all of this, somebody naïve, somebody whose confidence can barely survive a single hit. Maybe you’ll be the kind of actress Tomura would date if you make it through this shoot alive. The fact that no actress would ever date Tomura doesn’t matter at all.

Even if this is the only blockbuster you ever do, he’ll get to fight you at least one more time. There’s another fight scene between Quicksilver and Psylocke later on in the script. As Tomura leans against a tree waiting for his ride to show up while you talk way too earnestly to Midoriya, he finds that he’s already looking forward to it.

#shigaraki x reader #tomura shigaraki x reader #shigaraki tomura x reader #shigaraki x you #x reader #reader insert #stuntman au #man door hand hook car door #a bisquared production

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monstersandgirls-webcomic · 2 months ago

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In an earlier comic, Lili burst into flames by touching Sera's cross necklace. Looks like she can walk into churches, though. What exactly are the limits/boundaries for demons in regards to anything holy? Are there any super high ranking angels that Lili can't physically touch? What would be an insta-kill holy item?

Churches on their own aren't actually anti demon repellants, its why Principalities angels typically guard them. Lili just has to steer clear of things like holy water and crosses

There's no holy item that can instantly kill a demon just by touching it. even the weakest ones would simply get burned first. however if an angel was bold enough to stab lili in the heart with a cross she'd die instantly.

#ask

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metagalacafe · 4 months ago

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Congrats to fecto flora!

@kirbyoctournament

Bonus comic:

EVRY OC FEATURED!

Fecto flora, ME

Lady celestine: @kirbybecomesastarwarrior

Valfrey: @gethoce

Sir uther @quanblovk

Dotty: @cauli-flawa

Flylass @george228732

Zerpy: @taranzas-biggest-fan

Dolos: @nightcovefox

Rifty: @dizzy-dudd

Mint: @thebunnywhoneverlikedcarrots

Cross,Anti: @boa35

Mapobas: @sacrificecage

Star, @c0ffee-7

Artemis @isaackkkbunn

Wolfbell, @zombiecicada

Peony(moth) @springbreezes-and-peonies

Peony @giantchasm

Dazor @a-stardusted-sky

Rainbow dee @cali-kabi

David @jayden-for-now

Solaris knight @solarisaeon

Strawberry @thepageofthemicocee

Fitaphim @thehollyraven

Varin @golemsfire

Whisp @moonsharks-ex

Periwinkle @shibuyatoastedcursor

Moonstone @m0x1ez

Lady nebula @mercyillustrator

Reclusa @waddledoodledee

Life @shippyo

#kirby #kirby oc #mocha.png #fecto flora #comic

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cuddlytogas · 4 months ago

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there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

#OFMD #Our Flag Means Death #OFMD Edward Teach #gender stuff #Togas does meta #god this seems even longer as a semi-proper essay XD #I know this is the piss on the poor website of reading comprehension but please god don't misunderstand me #i'm not saying you can't draw ed (or any other male character!) in a dress or that it's The Wrong Interpretation or whatever #I AM saying this fandom sometimes emphasises feminising Ed to the point of over-simplification and dehumanisation #which certainly feels at least racist-adjacent and definitely misses the point of the show #but mostly I'm saying that THAT SCENE DOESN'T MEAN THAT and I wish people would stop talking about it like something sweet and positive #when it's one of the most miserable and heartbreaking scenes in the show. like. agreeing with ed's depression is a bad look...#my experience of trying to do meta in the last year or so has consisted almost entirely of trying to do #specific historicist analysis or textual close readings #and being met with broad political analyses and overall interpretations of character #like mate..... bless you for engaging but. that is not what I'm doing here. XD #shoutout to the couple folks on twt that mentioned Ed's desires generally or an outtake from the scene #neither of which are at all relevant to my point but thank you for your input

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leikeliscomet · 1 year ago

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“But We Love Martha Jones!” - The Doctor Who Fandom’s Selective Memory of Racism

Be aware that this article contains explicit examples of anti-black racism and misogynoir.

Chapter 2 - Utopia-ish

The constant nitpicking of Martha Jones for reasons white female companions could get away with was blatant anti-black racism. Let’s get that bit clear first and foremost. As a Black person in fandom, watching Black characters get torn apart while never being given the grace of their non-Black castmates is an experience that’s too common. Microaggressions are more subtle so the easiest way to shut down any mentions of racism is to accuse Black fans of making things up or telling us “Well it’s not like REAL racism”. Luckily Doctor Who Tumblr birthed the Martha Jones affirmative action and Aunt Jemima “memes” so I can cross both covert and overt racism off the list. As mentioned in extensive detail in the previous chapter, plus the various Martha Jones articles written before me, the treatment Martha experienced was racist. I don’t care if you personally didn’t like her. I don’t care that you missed Rose. I don’t care that Ten is your smol bean. Martha’s treatment was racist. Freema Agyeman’s treatment was racist. It might not have been everyone. It might not have been you personally. But it was there. The fandom can never be a safe space for POC, specifically Black people if this elephant in the room can’t be addressed over a decade after it arrived.

On paper, you’d assume Martha’s rep was good because “at least she wasn’t a Black stereotype”. Some fans praised her for having a present father, not speaking MLE and not being from the ends. This goes into respectability politics but the fandom’s weirdness about Black Brits and class is not the point of this article. The point is the revisionist history of how Martha was really treated and to do that it helps to know what Black tropes are. The Mammy trope is a Black woman whose main purpose is to serve her white counterparts and during slavery, she mainly cared for the slave owners' children. She is usually fat, dark skin and asexual, not as a representation of those things but as a statement of how if she isn’t used for sexual exploitation like the Jezebel (the promiscuous, reckless, sexualised Black woman), she has no sexual value at all. Her value is serving the needs of others only. Martha doesn’t fit this trope in theory but in practice, she fulfils the sub-categories of this trope both in show and fandom: the disposable Black (girl)friend trope. She is used as Ten’s emotional punching bag before he’s ready for Donna and then Rose again. She had to endure edgy moody S3 Ten so no one else had to. She’s the excuse people use to deflect any critical analysis of how race was handled in RTD1. She’s the fandom’s excuse to deflect from their own racial biases. Racism? No way! Everybody loves Martha Jones! What do you mean?

Some parts of the fandom have tried to mend things by suggesting Martha be paired with other doctors or romantically shipping her with other characters a bit better than Mickey Smith. But does this hold up? As much as I’m a big fan NineMartha as a concept and as someone who honestly saw one-off characters like Riley Vashtee from 42 or Tallulah from Daleks in Manhattan having way more romantic chemistry with Martha than Mickey ever did, simply re-shipping Martha isn’t enough. Doctor Who’s racism isn't exclusive to one doctor, one series or one era and new Martha pairings suggest the issue was “right person, wrong doctor” instead of what the issue actually was: racism. Moffat and Chibnall’s eras weren’t full of golden Black representation either so I doubt the Martha issue would’ve magically disappeared under those two. From Nine’s hostility to Mickey, to Twelve’s hostility to Danny Pink to Thirteen handing a South Asian Spymaster to the Nazis and Eleven only travelling with POC in comics most fans haven’t heard of and being besties with Churchill, simply putting Martha with another Doctor isn’t the serve fans think it is. Even RoseMartha seems like putting a bandaid on a bullet hole. If it's not enough for Martha to be compared to Rose, put down in favour of Rose, told she isn’t Rose and told she's worse than Rose in fandom and in show over and over and over, she has to be shipped with Rose too. Martha’s a great character… as long as you can tie her to Rose… again. Even in my own article I have to talk about Rose because Rose is centred in what was supposed to be Martha’s story. A doctor-to-be Black girl from London with a hectic family meets a Time Lord and gets abducted by space rhino police at work in one day. Her main conflict isn’t balancing work and time traveller life, or fighting to get her family back together, or seeing what’s out there in the universe - it's that she isn’t “Rose” enough. The Mammy and her sons’ main thing in common is simple; how well they serve and centre the white characters. In attempts to mend Martha’s treatment she is still only valued in relation to white characters. She should’ve been with Eleven because he would’ve fucked a Black woman. Or maybe Dilfy Twelve. Or a sapphic romance with another female companion who she saw twice or doesn’t actually know. Or maybe Ten in an alternate universe where he supports #nubianqueens. None of this is done to explore sexuality or romance with Black women and is definitely not to centre Black lesbianism and bisexuality. It’s Mammy with a dash of Jezebel. It's adding romantic and sexual value on top of physical and emotional value like a crappy meal deal.

I’m tired of Black women being treated as extensions of white women both in media and in real life. I’m tired of our value being determined by how well we serve white people emotionally, physically, platonically and sexually. And I'm even more tired of white feminism especially in this fandom. It would be so easy to label this article as anti-Rose, anti-Ten or anti-Tenrose to invalidate my whole racial analysis because it's the easy way out. I’ll admit I like both characters individually but not the ship but this isn’t something I decided on since birth - it's my conclusion as a Black fan in a predominantly white fandom, watching a predominantly white show, watching the first companion of my race be told she isn’t good enough compared to the white characters, and that the hatred of her is justified for the greater good of its popular white ship. Black fans can never have this conversation without being told we’re “pitting women against each other” and that Martha and Rose hugged once in S4 so everything's hunky dory. Martha’s happy that Ten found Rose again so what’s the problem? It sends a clear message that Black women’s pain will never matter a much as white women’s feelings. “Rose is amazing! Martha’s amazing! Stop pitting women against women!” but who was pit against who in the first place? These faux girl power posts fail to acknowledge the overlap of race and gender which separates the treatment of Black and white women. It fails to acknowledge Martha’s hate was rooted in anti-black racism. It fails to acknowledge the anti-Rose pushback was in response to how the show and fandom convinced us Rose was the untouchable bar this Black woman failed to meet. It fails to acknowledge Freema Agyeman the actress was targeted not just her character. It fails because the female empowerment rhetoric that leaves the Black ones at the bottom of the pile only “empowers” women of a certain demographic.

The harassment Martha experienced was swept under the rug of “stan wars” but it was so much deeper than that. I’m not saying Martha stans are angels but there was no “Great Stan War” because the sides were never even. At the end of the day no amount of “Martha’s better than Rose” tweets will ever compare to the fact that Martha hate was rooted in misogynoir. Rose was and still is considered the greatest companion of nuwho, whilst Martha is constantly erased and undervalued. Rose’s video views and hashtags have always been bigger than Martha’s. Amy and Clara came after Martha but still surpassed her in popularity and got plenty of fan edits of “The Girl Who Waited” and “The Impossible Girl” whilst Martha was conveniently skipped in the companion lineup. The fandom’s bias still shines clearly in favour of Rose over Martha. Rose’s jealousy towards other women is justifiable and just the ups and downs of a 19-year-old whilst Martha’s is entitled bitterness. Rose’s flaws are compelling character moments and depth, Martha’s are “holding her back from being a good companion”. Hell, even Donna calling out Ten’s BS was entertaining accountability whilst Martha was just the angry Black woman. Fans will weaponise Rose’s working-class roots to imply a pro-Martha bias, failing to acknowledge the working-class to poor background of the average Black Brit, the anti-blackness middle-class Black people are not spared from, the many working-class Black characters of the show like Mickey, Bill, Rigsy and Ryan or how most fans don’t consider Martha middle class because she doesn’t fit the white British cultural stereotypes. You can't be the most loved and hated at the same time. The hard truth is Billie Piper wasn’t racially abused by Martha stans but Freema was absolutely racially abused by Rose’s and the effects of this are still around. Go into Martha Jones tags today and you’ll see snarky posts of how Ten could never love another companion like Rose. Even when Freema bravely shared her experiences of literal racism, fans were quick to yell “But I wanted Ten and Rose though” as a justification for years of misogynoir. Again, we need to address the elephant in the room instead of covering our eyes and ears to act like it’s not there. A Black character and actress was collateral damage in order for a popular white ship to rise and whilst I’m not an anti, I as a Black Doctor Who fan, I’ll never be a supporter. At the end of the day, only one of these actresses is still carrying the burden of misogynoir over 10 years since RTD1 ended. A lonely walk across the Earth yet again.

<- Chapter 1 Chapter 3 ->

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siryouarebeingmocked · 2 months ago

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SYABM comic 70 “Donation Aggravation”.

[ Older comics | Chronological order | Subreddit ]

Some people get really mad about a computer asking them to give pennies.

AP says this meme is false.

Customer donations aren’t income, legally. So they can’t be ducked from the company’s tax bill.

Tax Policy Center says the same thing, and points out that consumers forget to deduct their donations.*

This meme was apparently popularized by, of course, TikTok.

Also, if they get a tax break, so what?

The point of that is to encourage charity and social benefit. If you care more about the tax break than whether they’re actually helping anyone, I think your priorities are skewed.

And getting a tax break means the company has more money to spend on stuff like...the charity. Or employee raises. Or just staying open.

I know the implication is that they must be insincere, but it doesn’t actually prove anything. It’s just point-scoring.

I recently saw people complaining that Panda Express falsely takes the credit for their charity, which is entirely funded by donations from customers and employees. PE Cares openly and explicitly says so on their website.

PE also covers the admin costs for PEC. All of them.

And as someone pointed out, they could just as easily...not have the charity. In fact, it would be easier.

Heck, during the Hawaii Wildfires, PE donated meals to first responders and displaced people. And, oh yes, they matched donations to the Red Cross.

...It’s a “Cancel” button.

Those are often different from regular choices, so people don’t click them accidentally. Heck, sometimes they’re made that way so they’re easier to see.

No 5D chess subliminal messages required.

And if you’re so easily influenced that a button color can change your mind, that’s on you.

“Saying your assumptions about us are wrong are gaslighting, even when I have no actual evidence I am also confident that everyone does this, which justifies my assumption that any given company does this.”

It’s especially irritating because gaslighting is about perception. But assumptions are not actual perceptions, and perceptions are wrong all the time.

I also saw people in the Youtube comments complaining about grocery store food waste, because apparently stores love to waste money, and are not influenced by picky consumers or legal concerns (PDF).

I’ve argued with these types before, and naturally, they defaulted to attacking me instead of my argument. Didn’t even pretend to have any actual evidence. Unlike me. Just doubled down.

And, again, what does this have to do with charity?

Plenty of companies actually, quietly donate everything to charity that they can. But that doesn’t make the news as much. Sometimes because that leads to people trying to take advantage.

Incidentally, during the Texas blackout a few years back, one grocery store tried to donate their food to a charity. Except it was physically impossible for them to get there before the food expired, due to the bad weather.

People saw the store throw out the ruined food (under police guard), and said the store was selfish.

One Youtube comment said the Bible claimed people shouldn’t give openly. Okay, but that’s about self-aggrandizement and egotism, not just asking for donations and trying to set an example for others, out of actual caring.

I think the real motive is a combination of anti-corporate NPC hate, and the desire to attack the requester instead of admitting they just don’t want to donate.

And I gotta wonder what the overlap is with the folks who insist billionaires can “easily” afford to pay taxes that are more than what many people make in their entire lives, because it’s a small amount relative to their total wealth.

* Did see someone once claim that people pay higher taxes for donating. They may have been referring to people not knowing they can deduct donation. Which is, um, not the company’s fault. At all.

Behind the Scenes: This is the first comic drawn in Krita that I’ve animated. In fact, it’s my first Krita animation, ever.

And unfortunately for me, Krita can’t animate Vector layers or groups. I only figured that out after a literal hour looking up tutorials (which didn’t help). And it’s a tad irritating, because I often use vector layers AND groups.

So I had to manually create each frame. Three different elements with three different timings. Had to break out the paper and pencil and plot it out.

Kinda fun, actually.

This is also the first commentary in a long time that I didn’t write before I finished the comic. In fact, I’m doing it completely raw. All I had was the saved image and a link to the Youtube thread in question.

Comic Inspirations:

That one freakout scene in Bocchi the Rock.

The kiosks at my local McDonald’s.

Whatever this is;

#comic #syabm comic #charity #animation #krita #taxes #lolgic #oh snap #money

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2sgf · 4 months ago

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Solstice ☀️ Sol ☀️ Sunny

he/him ⭐ they/them ⭐ she/her

28 years old ; tme two-spirit first nations wo/man

@mermen is my moonlight 🌙

★ minors do not follow or interact thank you

☆ white supremacists, transmisogynists, sex bioessentiallists, TERFs, and anyone who follow these kinds of beliefs will be blocked

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☆ remade on july 18th 2024

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☀ my final message...... peas and lov on planet erth....... goodnight

#text #pinned

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yourobedientserpent · 4 months ago

Text

Athelind Long's Superhero Chronology

Cross-Published from my Blogspot blog, Kirby Dots & Ditko Ribbons. INTRODUCTION There's a tendency to divide the different eras of comic book superheroes into "Golden," "Silver", and "Modern," with occasional, tentative attempts to parcel off the Bronze Age, as well.

Let's just say that this lacks nuance. The Superhero Genre has gone through a lot of trends and phases and distinctive cultures over the years, and lumping almost half of its history into some concept of "The Modern Age" is just phoning it in.

Some notes:

This is not quite the same as the ages of COMICS, though there's similar nomenclature, largely because comics history tends to focus on the superhero genre even when it tries not to. This is about SUPERHEROES, in more than just a single medium; the "Ages" only indirectly impact other genres.

All dates are approximate.

There's plenty of overlap between Silver/Bronze, Bronze/Iron, and Iron/Aluminum, but when I started looking a keystone events, I was astonished by how neatly everything fell into 15-year chunks!

THE CHRONOLOGY

Prelude (1830s-1938): The dawn of mass-produced popular culture: penny dreadfuls, dime novels, pulp magazines, newspaper comic strips. Folk heroes and detectives start sharing the pages with costumed adventurers, some with peak-human or superhuman abilities. Professor Challenger, Sherlock Holmes, The Nyctalope, The Shadow, Doc Savage.

Golden Age (1938-1953): Begins with Superman, of course; ends with Post-War Superhero Implosion and Frederic Wertham's anti-comics crusade. The JSA stopped appearing in All-Star Comics in 1951. Fawcett stopped publishing Captain Marvel in 1953.

Interregnum (1950ish-1960ish): A lot of historians make much of the gap between the Golden and Silver Ages, but, in retrospect, it's surprisingly brief. Superheroes never really go away, but they are de-emphasized in favor of other genres in comics, including horror, romance, and science fiction. Even at DC, other than Superman, Batman, and Wonder Woman, superheroes are relegated to back-up stories in anthology titles. Still, The Adventures of Superman with George Reeves remained popular throughout this period.

Silver Age (1954-1970): The Reign of the Comics Code Authority (est. 1954). Really starts to roll with the demise of EC Comics and the reboot of The Flash; peaks with the "camp" craze popularized by the 1966 Batman TV series; ends when Kirby Moves to DC and Marvel publishes the Spider-Man Drug Stories without the Code Stamp. Early on, formerly-anonymous creators start getting openly credited on the title pages of their stories; this starts at Marvel, but DC eventually follows suit.

Bronze Age (1971-1985): Begins with O'Neil and Adams revamping Batman and Green Lantern; Ends with the Crisis on Infinite Earths. Both DC and Marvel start paying closer attention to continuity and "relevance", and the most successful titles are the ones that most fully embrace an ongoing serial storyline (Legion of Super-Heroes, X-Men, The New Teen Titans). The specialty comic book shop starts becoming more common at the beginning of the era, and the closing years of the era herald a growing Creator's Rights movement, the birth of the Direct Market -- and the dawn of the independent publishers.

Iron Age (1986-2000): Begins with Deconstruction: Elementals, The Dark Knight Returns, Watchmen, and the Wild Cards "mosaic novel" series. Ends with Reconstruction: Morrison's JLA, among others. Dominated by a determined effort to Take Superhero Comics Seriously. The Big Two kill off or "reinvent" goofy, campy Silver Age characters. DC tries very hard to bring coherency and consistency to its new, Post-Crisis timeline. Several independent publishers try cold-starting superhero "universes" of their own; most of them fail, but a lucky few manage to sell their characters to the Big Two (Ultraverse, Wildstorm).

Aluminum Age (2000-2015): When Everything is Recycled. Marvel starts the Ultimate Universe. DC resurrects Silver Age characters who got killed off in the Bronze and Iron Age. The Comics Code finally dies in 2011. DC does a succession of "sequels" to Crisis on Infinite Earths: Identity Crisis (2004), Infinite Crisis (2005-2006), and the deceptively-named Final Crisis (2008), culminating in another Hard Reboot with the New 52 in 2011. Marvel does its own version of Crisis with the Multiverse Incursion story arc in New Avengers from 2013-2015. "Decompression" and "writing for the trade" become common as trade-paperback collections become more economically important than the traditional monthly comic magazines ("floppies").

Digital Age (2015-Current): Superhero not only become mainstream, but actually dominate movies and TV for several years -- this starts in the Aluminum Age, with the MCU in 2008, but is solidly codified by the debut of Arrow in 2015 and an explosion of weekly prime-time superhero shows that lasts almost a decade.

Comments are welcome, but be civil! This is intended to provoke conversations, not fights.

#superheroes #chronology #golden age #silver age #bronze age #iron age #aluminum age #digital age #“modern age” is nonsense because what comes after it?

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celaenaeiln · 1 year ago

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can i know your thoughts on the “typical” nightwing ships (him with wally, roy, slade, kory, babs, apollo/midnighter, etc etc)?

ofc! <333

As a multishipper I literally love almost all of these

Wally

The softest ship ever! Reading about them is so cute. All cuddles and snuggles, and full on comfort.

It's the best friends to lovers trope

Haven't read about them in a really long while but they used to be my comfort ship. Like these two are so soft each other that they just make me feel warm inside.

Roy

Roydick is my spicy birdflash ship. Their chemistry was more heated with them constantly getting into arguements but falling together again. Going back to the comics I realize that Roy hero-worships Dick and that's why they get into so many fights. Roy literally thinks Dick is too perfect

There's this post about them which provides comic panels about Roy constantly comparing himself to Dick

But mostly Roy wants all of Dick. He wants Dick's 100% attention of them and he hates-HATES-that Dick gives everything to Batman. It drives him so mad because he thinks Batman doesn't deserve any of Dick's attention.

Literally tells Batman- you ain't shit. I feel bad Dick had to deal with you. He doesn't deserve it for all the greatness he is.

Roy wants all of Dick and that's where I ship them including their complicated issues. What makes their relationship so great is their problems. Neither of them will compromise (Dick won't let go of Bruce and Roy won't let go of that issue), but after all the screaming and fighting they still fall back together.

It's Dick that Roy goes to every time he has to deal with Cheshire.

Additional post:

>:> hehe

Ollie has the biggest grin on his face XD

Slade

My OTP LETS GO

Bruh I am so into them.

My post on why they were made for each other

YEA YEA YEAHHHHHH

Slade literally used the steam of Dick's shower to write a message in his bathroom mirror.

okay.

I am obsessed with Slade's obsession with Dick.

I love how in one comic Dick is literally just listing everything that's wrong with his life and Deathstroke is just standing there actively listening with his arms crossed.

He's never gonna give up that apprentice agenda.

Kory

Kory!! I LOVE DICKKORY SO MUCH!!!

When I think of love, they are the epitome of it. I didn't know it was possible to feel love through paper until I saw them. One look at the chemistry is overwhelming.

"Questions about what's right and what's not, I'll always have them. Questions about my loving you? No! I do. Very much."

Dickkory love is stronger than Dick's moral ethics and Dick's moral ethics?

I've never seen Dick love anyone as much as he did Kory. There are issues that came up ofcourse. I'm pretty sure there was an anti-alien sentiment among the general public (real life?) that affected them and on top of that the Batman office wanting Dick back so they just ripped him away from the titans and rewrote a whole new love story for them while trashing Kory for it but when the public's reaction and Dick's "he's so perfect everyone wants him so let's play around with love interests for him" aside, they were the king and queen of love.

What I love about their relationship is Dick loved Kori for who she was, not how she looked. And Kori loved Dick for who he was and not how he looked. On both sides, sometimes all people see of them are their beauty not their personality or strengths or being.

Barbara

Barbara. The reason I held off on writing this.

My feelings about Barbara are complicated.

She and Dick used to be my OTP. I loved them so much I actually hated Kori for a bit, thinking that Barbara was so much better-when I was solely in the fandom. But oh how the table have turned. Very recently the feather broke the camel's back so my feelings about the two of them have changed.

Long story short, they're better off friends. But my favorite moments come from mostly short haired Barbara comics.

This Barbara was AWESOME. She was so chill and cool and funny. She would be smart but not in a demeaning way to others.

Also Batgirl 2000 comic Dickbabs was so sweet (below)

Apollo/Midnighter

love them!

I think Midnighter would totally seduce Dick into a frenemies with benefits arrangement. I mean he's halfway there.

But aside from the usual flirting, Midnighter really, really, REALLY respects Dick's fight skills. I'm sure you've seen the panels of that already but since posts have a 30 image limit I'mma skip over that to the other reason: his greater-that-meta-human tenacity. Things and circumstances that take out metahumans, Dick surpasses through sheer will power and dedication.

So I mostly ship Dick/Midnighter but Apollo would probably join in too at some point.

Constantine

Never getting over how John-I don't do things I don't have to-Constantine saved someone because their body was hot and and their butt looked good. But later on in the comic he talks about how cool he was and what he describes Dick as is when asked about him is:

Additional exchange:

Tiger

His relationship with Tiger is AWESOME!!

It reminds me of his batman Dick relationship with Damian. Snarky and affectionate.

I ran out of image space :'0

But Dick basically gets Tiger-Spyral's number 1 and most loyal spy-to abandon the agency they work for, turn coat, and hunt them down to burn the oragnization into the ground instead. They're literally so funny. I loved Dick and Damian's cute banter and Tiger is just Damian aged up but meaner lol.

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