#but now I feel compelled

[laurellala-comics]

Fun fact! This was the real tipping point that made Edgeworth run away after AA1, they just couldn't show it on screen because they didn't have the rights to Chappell Roan's music <3

(A spiritual successor to my "Hot to Go" joke from this post. Image description under the cut below)

[Image ID: a four page black and white comic of characters from ace attorney.

The Judge stands solemnly at his podium holding a gavel "Mr. Miles Edgeworth, you are on trial for the murder of blah blah blah..."

A cheerful Maya Fey leans over to Miles Edgeworth, who is staring straight ahead and looking very concerned

Maya: "Psst! Mr. Edgeworth! If you win your trial, can I show you Chappell Roan?

Miles: "What the hell, sure." Internally he thinks "Oh God I am going to jail"

A box saying "later" in the top corner of the next panel marks the passage of time.

The Judge smiles as he says "I declare you... Not Guilty!"

We see a full body shot of Maya dancing excitedly while Miles looks on, emotionless

Maya: YIPPEE omg you're going to LOVE this

Miles internally thinks "oh no, the consequences of my actions.

We see Miles standing in between Phoenix Wright and Maya looking apprehensive. Maya beams in excitement, while Nick puts a reassuring hand on Miles' shoulder

Miles: Alright, so what is this exactly?

Nick: She's a pop musician Maya really likes

Maya: You promised you'd let me show you, and it's legally binding because you said it in a court room!

Miles: That is not how the law works Ms. Fey

Maya: Shh just listen!

We see a panel of Miles' pensive face concentrating as he listens to "Hot to Go". He thinks to himself "hm".

Another panel zoomed in more. His pensive expression has grown more tense/confused as he listens to "Red Wine Supernova". he again thinks to himself "Hm" in a larger thought bubble.

We zoom out again to see Nick, Miles, and Maya standing together again. Miles stares forward blankly, eyebrows raised. Maya excitedly leans in.

Maya: Ok, that's her whole discography. So! What did you think?

Nick looks at him, waiting for his response

We get a panel of Miles, looking bewildered. He starts to speak "I..."

We cut again to see the three of them standing together.

Miles: I... don't think I like women?

Miles looks shocked and confused. Nick is bent over laughing, using a hand on Miles's shoulder to support himself. Maya looks outraged and appalled!

Maya: MR. EDGEWORTH! Just because you don' like her musi it doesn't give you an excuse to be sexist!

We see a panel of Miles looking stressed and confused. He leans his head on one of his hands, which messes up his hair, showing how he isn't his normal put together self.

Miles: I should rephrase that. What I mean is, Ms. Roan is clearly VERY assured in her feelings towards women. I was... unaware that anyone felt that strongly. I thought we all viewed these things with a vague sense of distaste and unease but collectively ignored it. Like how we do with climate change.

We zoom out again to see the three of them. Miles stands in the middle looking deeply uncomfortable and lost in thought, vibrating with unease. Nick and Maya exchange deeply concerned glances across from him.

With lingering unease, Miles begins to walk away.

Miles: Well, I should be going then. Goodnight.

Nick hesitantly raises a finger to point out an inaccuracy in that statement

Nick: It's four in the afternoon-

he gets interrupted by Miles who repeats firmly: I said Goodnight

Nick looks in the direction Miles walked off in.

Nick: ...He'll be ok, right?

Maya reassures him: Of cours Nick! I mean, what's the worst that can happen?

Jump cut to a closeup of Nick's hand holding Miles' letter which reads Miles Edgeworth chooses death in all caps. Then, below in smaller font, it says Also femininomenon was really good, thanks.

We see a panel of Nick glaring wordlessly at Maya as he holds the letter in his hand. Maya leans against the wall and looks away, whistling, trying to look innocent to avoid blame.

As a bonus, we also have a page that takes place a year later. Miles and Nick stand talking. Miles looks calmer now, and Nick smiles encouragingly.

Miles: In my time in Europe, I've been examining myself and my approach to law. Ultimately, the most important focus must be justice. We owe it to ourselves and to the people we serve

Nick: Wow, that's really inspiring Edgeworth. And, uh, hows the... the other thing going?

We get a zoomed in panel of Miles glaring menacingly at a suddenly nervous Nick

Jumping out again, Miles turns his back to Nick as he continues to talk

Miles: So as I was saying, justice is truly so important...

Nick nervously rubs the back of his neck wearing an awkward expression as he sweats nervously. He thinks to himself internally "Ooookay then, clearly still working through some things there"

/.End ID]

[stabbyfoxandrew]

@alittlefellawithbigoleyes sent me this little game and so i had to do it. :) ty cal<3

make yourself with this picrew + give us the last song you listened to!

feat. my gray streak and new hair (also ily freddie mercury👑)

i am tagging: @c-lion, @joanofexys, @qstygia, @ordei, @rekikiri, @jtl-fics, and all my mutuals. i'm sorry there's so many of y'all and i'm braindead at the moment TwT <3

[nosferatufaggot]

It took a million watches but I'm pretty sure the intended interpretation of season two is that the Doctor and Rose are dating. Like not even mutual pining like they actually are dating. They kissed at the end of season one, The Christmas Invasion Rose is going on to her mom about their relationship and how she thought they were something, and in New Earth Rose calls the day the sun expands their "first date" then Cassandra is in Rose's body and makes out with Ten and he doesn't really question it just says "Still got it."

Like ship it or not, I do think the intended interpretation is that they are for realises dating. Which makes season three make even MORE sense! Martha has a crush but she isn't Rose. "Rebound" like it wasn't mutual pining they were DATING!!!!!!!!!!!

[eyrri]

little Kitten Burst doodles because i love it and think about it a lot

pspspspspspspsps play kitten burst

[stemmmm]

this animatic is going to kill me. this has been my artistic experience for the past few days

big things coming

[wardensantoineandevka]

the fact that people keep interpreting the word "consequences" to be exactly and only "punishment" and knee-jerk responding to it with "why do you want my precious Bells Hells pookies punished" frankly says a lot about more about you than it does about those who feel that C3 as a narrative never followed through on consequences for anything

this is ESPECIALLY evident when it is remembered that we're all talking about a story and doing narrative analysis and media critique here, yes, all of us, even the casual commentaries, debriefs and post-mortems of the campaign is analysis. consequences. narrative follow through. the consequential story beat that carries the weight and concluded a prior set up. results, negative or positive or neutral, that are incurred as a consequence of what happened before. a continuity of narrative logic. actions that result in the expected and prior established weight and outcome. feeling like things consistently matter and affect things meaningfully on various levels, including the personal.

[xxplastic-cubexx]

🧙‍♀️🐈‍⬛

[thethiefandtheairbender]

Had a good chat with my partner about it today that maybe let me put a finger on what's always bugged me about "we're here to fix canon" attitudes being so prevalent in fandom (especially in the past 10ish years) throughout my life. This is not to say there's never a time or place for that (I've written fix its myself, or the occasional meta on how something could be fixed/improved) or that people are wrong to (we're anti fandom policing). It's also not an issue to me on the basis of "I love my blorbo in canon and fandom mischaracterizes them in the name of 'fixing' them" etc as it is just... coming from a fundamentally different perspective for story analysis / interaction than most (not all) people in fandom, I think.

One of the reasons I enjoyed getting my English degree was because I was finally being encouraged to and taught in alignment with what my brain had always be inclined to do: you always assume that there's a reason, and a good reason, for the story to do whatever it's doing. It assumes that the story is already exactly what it is supposed to be as it is supposed to be, and it's up to you to find the reasons Why.

The story was boring, or made you feel uncomfortable/bad, or you couldn't root for a character or relationship? All of that, at least at the beginning, doesn't really Matter. You assume that the story is paced fine, you assume the discomfort was intentional or part of something broader (historical shit that hasn't aged well) or that the dichotomy of "I feel invested or not invested" isn't useful. And in doing so, you replace all that with asking why.

An example I'll use is 1984 by George Orwell. I read that book in high school and I fucking hated it. Normally, I like the protagonist the most in anything I watch/read, but in that book, I loathed both the two leads and were actively rooting for them to be captured and tortured so the book could end faster; it was an actively miserable affair. I don't think that was necessarily the author's intention (certain amount of death of the author is baked in, but for a lot of the texts I was reading, we didn't even know the author or anything substantial about them, i.e. Beowulf) but, more importantly, I don't think any of those things are Flaws or downsides in the text.

Part of this is because 1984 is a dystopian novel (if a romcom book breaks genre convention that badly where you're miserable reading it, yeah, maybe something went wrong, but more on that in a minute) but even then it doesn't really matter on the basis of genre; I'm sure some people read 1984 and felt fascinated/excited while reading.

Rather, the focus becomes: what do I find so unlikeable about the protagonists? Why would they be written that way (on purpose)? What does it say about the society they live in? What does it say about their characterization, social stratification, etc etc? If a character does something that I think is non-sensical, why? Have I missed something? Should I watch retrospectively for clues? Is there another way to engage and to understand? Is what I label as confusion potentially a, or the, Point?

It is only after finding the reasons, and/or finding them unsuitable, that I let my subjective feelings into play. While a story can have great merit on the basis of relatability, relatability or "this aligns with my worldview / expectations / desires / etc." is not the be-all end-all of discerning quality

For example, I'm never going to be a fan of Jane and Rochester (she's 18, he's her 40 year old employer who routinely lies to her) but there are reasons, Good reasons, they get together in Jane Eyre (a book so subjectively boring I struggled through it twice) in response to both when the book was written and with the book's themes / symbols / their characterization. If they didn't end up together, it would be a fundamentally different story; it would not be Jane Eyre. So objectively, it's fine and an understandably massive influence on the western literary canon; subjectively, it's so fucking bad and I'm so glad I never have to read it again. But if I stopped there with my lack of interest or dislike of the main romance, I'd be missing out on what the text has to offer as well, the text.

This applies to more modern day stuff as well. I don't like Double Trouble from SheRa as nonbinary representation, and I'm nonbinary myself; however, I can acknowledge that the things I don't like about them were probably simultaneously empowering and exactly what the author (who is also nonbinary) wanted to be per his own experience of gender. Having a "I assume the text is right" mindset means that I can hold space for my own feelings/analysis (i.e. I also did not like Catra's arc, as I think she needed to learn other things / be written under a different lens) while holding space for the text as is (under the canonical lens of Catra learning it's never too late to be saved, I think her arc is conclusive and well done). And these two viewpoints aren't fundamentally opposed, but can coexist as analytical soup, being equally true / having equal value under the subjective (my view) and more 'objective' (the canon text's construction, or what I / the scholarly consensus, if it exists, believes it to be, anyway) at the same time.

Again, none of this is to say that you can't take issue with a canon text, or want to change something. I remember one time I was watching a show where their refusal to explore a romantic relationship between the female lead and her guy best friend was actively making the show worse; I understood their reasonings of wanting to put them with other people to explore their relationships, and wanting to emphasize a male-female friendship at the core of the story, and I still wanted them to put the two together as a Ship instead for various reasons. But that doesn't mean my line of thinking would've been Objectively Better—assuming if they had been paired together would've been executed in the manner I'd enjoy, or that them being paired with other people couldn't have been executed in ways I would've enjoyed more—merely that I likely would've enjoyed the series more per my own subjective preferences.

What I see in fandom sometimes is that people, understandably, aren't approaching at the start from a "the story always has a good reason" as much as they are speed-running from a "this didn't make sense to me or felt bad/off" and maybe examining why (which is supremely useful!) but not going back to examine the other side of the coin as to why the story would do it anyway.

Because sometimes the story—or a part of a story—is still 'bad' to us. It's just worthwhile to look at why it's 'good,' too.

[thefirstknife]

Some lore tabs that killed me dead and I'll never recover from them. Seasonal gauntlets are about Zavala realising and coming to terms with the fact that he is mortal and has mortal pains. Also, finally, the full confirmation that Guardians resume aging when they lose their Light:

He moved his chair back and considered his knee. What had he done to hurt it? He had not exercised yet, he had not gone on his usual patrol… he had done nothing. Why would a knee hurt from doing nothing? The riddle dissolved. He was starting to age.

But also:

He allows a hand to rest on his aching knee. To venerate it. He feels it solid under his palm. It is his, it is real, it is both portentous and precious. He is aging. He will age. An absurd and joyous thought warms in his chest: how fortunate, to have lived long enough to grow old. How invaluable, to make the space between himself and the horizon matter. How much time is left? And is it best spent with his knees under a desk?

Genuinely crying over this. How fortunate to live long enough to grow old. Man. Also at the end he asks for a break for one week and Ikora offers him two weeks.

The next one just... I have no words. It has to be read in full. It's about Saint going through it, having memories of his past and also dealing with the guilt with what's happening to Mithrax. Truly every sentence in this one is a gutpunch all the way to the end. Excerpts:

The hum of activity was overpowering yet reassuring to Saint-14 as he stopped to watch an older Eliksni expertly weave fabric on a well-worn loom. The woven symbols were unique and unfamiliar to the Exo, but he watched in awe as an iridescent glow emerged within the vibrant cerulean cloth. Fit for a Kell, Saint mused to himself— Breath caught in his throat; hands shook— Flashes of memory echoed in his mind. All he could feel in this moment… was shame.

Saint remembering his crimes against the Eliksni and feeling shame.

He hurried past the weaver and through the crowd, landing squarely in front of a tea stand, a sample placed in his hand before he could open his mouth to refuse. He looked down. The opaque liquid steamed in his cup, pungent and medicinal. Like distilled Darkness, Saint realized— Breath caught in his throat; hands shook— Flashes of memory filled his sight. All he could feel in this moment… was sadness.

Tea reminded him of all the stuff with Osiris and he is not processing it well. I say excerpts but I have to put the rest entirely because like. Okay.

Saint placed his favorite keepsake, a small stuffed bear, on the Kell's throne. Gently, he adjusted the lavender ribbon at its neck; the crisp satin sat in stark contrast to the bear's hazy black eyes, to its slightly worn ear and well-loved fur. A gift, once a comfort to a child of the City. A gift, once a comfort to Saint in the face of loss, in the face of— Breath caught in his throat; hands shook— Flashes of memory swelled in his heart. Osiris. His strong laugh. His deep, soulful eyes. The warmth of his smile. Of his touch. Memories of comfort, but all he could feel in this moment… was guilt. Intense and overwhelming, like daggers cutting through him, sharpness bleeding through sweetness. Saint breathed deeply and stared at the medical equipment around the empty throne before him. "The cost of my joy," Saint whispered, and he wept.

He has a teddy bear. He once gave it to a child, but someone returned it to him when he was grieving about Osiris, to comfort him, and he'd kept it. And he put it on Mithrax's throne because he feels guilt that Mithrax is suffering because he helped him and Osiris.

I'm ending it all.

[ask-the-pioneer]

What doth life?

"Long time ago, as a young pup searching for enlightenment..."

[irradiatedsnakes]

as an artist i get that the like-reblog ratio on this site can be frustrating but those banners that people put on their art posts that are like "REBLOG MY ART. IF YOU LIKE ART WITHOUT REBLOGGING DNI." make me about 5x as likely to just. not touch that post at all

[canine-economy]

does anyone still freak with the legion in 2025. because I've been losing on their side for six years (iykyk what it was like to be a legion fan when they first released) and I have not moved on so here's some little hcs and how I currently envision/draw them all this time later :] they're like the only thing I can sit and draw these days.

&& longer-form talk abt my design choices under the cut!

julie's comic design is so perfect to me that I was sold as soon as it released. not much to change there. funnily enough, i could never picture her as a blonde until it released, even though we knew from her tome cosmetic well before the comics came out. i think frank's comic design has a strong vibe going for it but I wanted to blend it with some skeet ulrich in scream and pay homage to my original interpretations. I just like the lighter hair on him. joey's comic design is also perfect to me! I'm just so used to the beard and face paint from his fog/model design that I gave him a bit of a shadow to call back to it. susie's canon blue eyes make a return (I used to draw her w dark eyes!). color contacts will not reach her in the Entity's realm mark my words.

i'm aware everyone in the Fog was retroactively confirmed to be 18+ but there's something really miserable and important to me abt the legion being eternally trapped in their teenage friend group with their teenage angst and having that be warped and manipulated forever and ever. that crap already feels like the whole world when you're that age, and now you're a murderer in spider hell. rough! i keep them teens in my iteration but with zero intent of being weird abt it. so like. don't be weird abt the legion around me. they're like my strange kids.

[rapha-reads]

No but I gotta talk about Medusa for a minute actually.

It's been. A very long time since I read the PJO books so I don't exactly remember how Uncle Rick presents Medusa in the book. But the way the show introduces her myth? Fascinating. For me as a Greek mythology enthusiast, that is.

The show makes Medusa a victim of Athena. Of course, the show is mainly for kids, so they can't exactly say that, hey, kids, Medusa was Athena's priestess and she was raped by Poseidon, YEP, or protagonist's father, IN Athena's temple, nah, that's neither kid-friendly nor does it endears us to Poseidon. Not that Poseidon is very dear to us viewers/readers at this point, our narrator/protagonist can't stand his own dad.

But still what fascinates me is that even though they twisted the myth to ft the narrative they still managed to evoke Athena's curse as being actually a gift, and Medusa not feeling wretched over her condition but blessed.

Which is not a modern reading of the myth, actually. Saying that Athena couldn't punish Poseidon for his transgression and could only punish Medusa, but did so in a way that would give Medusa weapons to defend herself against whoever and whatever would try to harm her again, is a narrative that exists since Antiquity.

My point is that the re-framing of Medusa's myth, departing from the traditional, non-kid-friendly version while still incorporating both classic and modern elements, is a good frame of reference for the series (book and show)' entire approach to mythology. And I guess I'm saying that mostly for the non-book readers who are discovering this world, many of whom might be Greek mythology fans and might have gone "wait, why is Hades AGAIN presented as the bad guy when he's the chillest, most normal, most stable god in this entire pantheon", because that's a conversation the book fandom has been having (over and over again) for more than a decade.

Anyway, yeah. As a long time book fan and a show appreciative, here's my advice to anyone who knows WAY too much about Greek myths and still want to enjoy the ride without going every five minutes "wait, that's not correct": reframe. Contemporary rewritings, modern audiences and Fantasy genre.

[skunkes]

reaching a point where im liking my art and range and flexibility with styles (kinda !) and stylization and its like ok now what do i do with that. I wish my ocs were more interesting/that i could MAKE them so...!

[phoenix-before-the-flame]

Idk, just some guy then i guess

[grandcovenant]

who's pulling the strings of the puppet king?