#by the creators obviously

[a-couple-of-notes]

There's something so special about how Agatha All Along positions Lorna's version of the ballad. We're introduced to it as "the most popular version of the ballad," and I think--as with any popular thing, especially pop music--the instinct is that it has somehow degraded over time, twisting away from its original roots. They've taken something sacred (the literal "sacred chant" version) and commercialized it, and the story will peel back that artificial popularity to reveal what the true meaning of the ballad is. You know, take us back to when they wrote real music.

But then the show reveals: no. That sacred chant version, for all its spooky harmonies and medieval-sounding traditionalism, that was the scam. And this popular song written centuries later, the one that connected with so many people, that this Gen Z teenager especially likes, that was the version closest to the original form of the ballad. It's not a degradation over time; it's an unknowing healing, a kind of quiet reconstruction--just like Agatha is being pushed into her own healing journey.

And I don't know, I just love that this is the version of the song the show chooses to embrace--it's Lorna's version that Japanese Breakfast sings over the closing credits. Maybe in a Doylist sense, that's because the Lopezes wrote Lorna's version first. But in the Watsonian sense, it's really cool. Not everything in the past is sacred. And as we move into the future, we can reach for better, truer, more earnest things.

[tangledinink]

hey gang! me and some of the other creators i talk with have been getting some not-so-fun messages and comments lately, so in wake of both that and the fact that i'm starting my new job soon and will likely be posting less for a bit while i'm adjusting... here's a quick, friendly reminder!

[that-foul-legacy-lover]

I'm new to this Sagau and stuff, tbh i like how every archon and people regret after knowing the reader was the real creator... So if its not a trouble to request.

I kinda wanna know what the whole teyvat and archons reaction when the impostor they were trying to hunt down was the Real Creator and what would be their reaction to Foul Legacy/Childe is the only person reader trusted,

oh the first emotion would be cold, suffocating horror

horror at the fact that they accused you of being a fake. horror at how they hunted and hurt you. horror at your new form, your diminutive Melusine self. and horror that of all people, of all beings in the entirety of Teyvat, you cling to an Abyssal monster for comfort. the only Archon who even knew a smidgen of your rebirth is Furina- although she insists she's not the Archon anymore, and that in itself is the only reason Neuvillette allowed her a fragment of the secret he and a few others are keeping for you. so she's tight-lipped when the other Archons descend on Fontaine to question her, brushing their relentless questions off as they're not her concern, even if she has tea with you in Merusea Village every Tuesday. besides, the Melusine were her people, when she ruled. she's not going to give up the location of their home, just because a few gods can't keep their noses out of your business!

Foul Legacy and the Melusine, and your few other allies, are firm in protecting you when the entirety of Teyvat attempts to seek your forgiveness. Legacy sticks by your side wherever you go, even if its just to the caverns outside of the village. he soothes and comforts you whenever the stress causes old injuries to flare, rumbling quietly and nuzzling against your mittenish hands, against the shimmering markings where there were once scars. you shall do nothing unless you want to, that's what he thinks. all of Teyvat can go hang for how they abused and isolated you, he doesn't care. let them suffer. but you're kinder, despite all you've been through, something Foul Legacy admires greatly. so quietly, you agree to see one god, alone, without telling any of the others

Lesser Lord Kusanali can't help but smile and clap her hands when countless Melusine appear in her dreams, leading her to you

[trying-to-jew]

Constantly torn between my desire to convert and the crushing weight of knowing that I won’t be able to exist in the wider fandom spaces that I love without being constantly reminded that Jews are always guilty until proven innocent post-Oct 7.

[ask-whitepearl-and-steven]

Is Rebecca Sugar aware of your SU AU?

I think she's probably a tad too busy to be reading random AUs. Though if they DID read it, I'd be flattered, of course.

[necroixe]

@ younger creepypasta fans, don't be worried about sharing what you make for the fear of people finding issue with it for existing. We like your art for what it is, and encourage you to keep making it, because that's what the core of being an artist is. The ability to write, draw, create, whatever it is that drives you, and literally nobody ever can take that away from you. Those kids with the shitty stories and self inserts built a fandom from the ground up, wrote and drew their characters just because they wanted to. If you don't care for it, make your own art, or move elsewhere.

The quote in anton's original post is incomplete, so here’s a better one— "find what you love, and let it kill you."

[delicioustarong]

DRAW YOUR FAVORITE AUS (but only John Dory) CHALLENGE!

Brotherhood AU by @0ketlyn-s & @tea0w0stache

World Tour AU by @year2000electronics

Not the Only One AU by @ryssbelle

Blast to The Past AU by @that-cool-guy

Im Still Here AU by @blade-that-was-broken

For This You Were Born AU by @blade-that-was-broken

Had fun coloring this but it took foreveeeeeerrrrrr because of school. As you can see from the "Im Still Here" AU, John Dory is just a tombstone 💀. It's because I made this before it was revealed that John Dory wasn't dead. I legit thought he was seriously dead so I did what I do best and use humor to cope LMAO.

(also-- Brotherhood!JD and NotTheOnlyOne! JD having the same pose makes me go 🧍🏻‍♂️So to cope, Imma just delude myself that this is the universal John Dory pose LMAOO)

[biggest-gaudiest-patronuses]

*tries to organize my thoughts*

*remembers i'm not in school and therefore beholden to neither heaven nor hell nor any man's grading system*

*joyously shredding & tossing all my carefully arranged 3x5 mental notecards into the air like so much beige confetti. raising my arms in victory, cheering raucously until i accidentally inhale bits of homemade confetti*

(*coughing up itty bits of paper like a cat evicting a hairball with a firm understanding of tenants' rights*) wait wat happens next

[bitchslapblastoids]

Was thinking about how much of a normo I come across as irl, how I’ve felt a lil odd person out at their shows bc of being a bit older (29) and looking so aggressively normal, how generally confused people in my life would be if they knew about my d&p obsession, how thoroughly i mask weirder traits and essentially codeswitch to suit the mainstream, etc.

i feel kind of fish out of water when I imagine how all the people that populate my tumblr phandom ecosystem are likely presenting to the world irl (I.e. more visibly queer, counterculture, and so on). But then I think maybe the most visible phannies are the ones with the most curated, alt, deliberate daytoday lewks/style? So maybe what I’m picturing is off base? But then I’m also basing this off of what audiences look like in audience footage, m&gs, etc.

Sooooooo i would like to know… do you guys feel like you present as someone who may be Deeply Online and obsessed with two gay nerds from the internet? Or do you hide it and fly under the radar, masking as a total normy and living a double life?

(To clarify I don’t mean you’re like out and about wearing the fringes boob sweatshirt lol I more mean vibes and overall lewk yk?)

[windwenn]

Stuff i've been thinking about a lot recently (not unrelated to my feelings about star trek)

[stil-lindigo]

the candle.

a comic about rediscovering passion and recovering from burnout.

creative notes:

[piosplayhouse]

Absolute favorite twitter level discourse is when people are like "yaoi is bad because it's created by women which makes it evil and fetishizing, but bara is good because it's made by gay men for gay men" as if the creator of bara wasn't one of Japan's most famous alt-right hyper-nationalistic conservatives and also porn writer on the side who trained and maintained his own personal militia to enact a failed coup on the modernizing government in 1970 and then proceeded to publicly commit suicide after because he had a fetishistic obsession with ritual disembowelment

[sainteclectic]

the thing that's vital to understand about cccc is that they have reasons for what they do. but also, and this is important, they all kinda suck

mind is doing what he believes is best for them. he wants to be the perfect solution to every problem. he's also arrogant and incredibly petty, gloating and bitching every chance he gets about how much better he is than heart. he pretends his own feelings are just logical conclusions, while also devaluing other people's feelings. he sucks!

heart was never listened to by mind. he knows he's "weak and vile" but believes (rightfully!) that emotions are needed to survive. he also literally shot someone, refuses to admit that literally shooting someone is bad, and stubbornly both complains he's not listened to and never listens to anyone else. he sucks!

soul is exhausted. he's gone through this countless times, enduring the same arguments over and over. he just wants it to stop. so, he exerts as much power as he can over the two of them and threatens their lives. he's simultaneously both the most in control (of the three) and powerless (in the narrative), and he tries to control the other two for his own ends (even if those ends are ultimately good for them all). he sucks!

the story of cccc is ultimately about guys who kinda fucking sucks for their own reasons. the story is about the raw, unsanitized experience of mental illness. of course they're all deeply fucked up! removing their flaws is just re-sanitizing the purposeful mess that is the album and its characters

[wifegideonnav]

something so special to me about how homestuck was this media that shaped tamsyn’s life and writing to a crazy degree and now her books are doing the same thing to a whole new group of people <3 can’t wait to read/watch/listen to/play media made by tlt fans and excitedly realize that hey!! this creator went to gideon the ninth too!! that’s a tlt reference!!

[casscainmainly]

An Analysis of Duke Thomas in Wayne Family Adventures

I've been seeing a lot of posts and comments recently concerning Duke Thomas in WFA. I know WFA discourse has been done to death, but these comments were about how they'd only read WFA, felt Duke lacked a personality, his powers weren't distinctive, etc. Out of the main WFA characters, I think Duke has the least-read comics and the least understood canon history. This post is going to dissect WFA!Duke, compare it with canon!Duke, and address whether WFA is a fair representation of Duke or not.

This is not a WFA hate post. A lot of comics readers love WFA and vice versa, and I'm not going to dictate what people should like or dislike. Check out this post I made yesterday about the origins of WFA, which really aren't ill-intentioned. However, judging by the comments/posts I've seen, a lot of people don't know the difference between WFA!Duke and canon!Duke. This post exists to clarify those discrepancies and hopefully encourage more people to read Duke's comics.

The Positives

Let's cover the pros of WFA!Duke first! The sheer fact that he's one of the main characters and present throughout is amazing, allowing more people to learn and get interested in Duke. Since he doesn't have his own ongoing, WFA is about the only place to get consistent Duke content.

Plus look at how cute he is:

His presence also means we get fun interactions with other characters that Duke doesn't get to interact with in canon, such as Steph and Dick. As a diehard Duke-is-Dick's-successor believer, I appreciate any page-time they get together, even if it's not substantial.

Also, WFA season 3 confirmed that Duke can turn invisible without his suit, which is just fun!

Framing

Duke is introduced in the very first episode, and in some ways is the framing device for the entire webtoon. He is "Gotham's Newest Vigilante," learning about the family and the manor.

Many episodes of WFA have Duke asking a question that the others respond to. You can see this in Episode 2 ("The Last Cookie," he asks about their tradition), Episode 7 ("Vigilante Bingo"), Episode 30 ("Driving Lessons"), Episode 39 ("Secret Identity"), all the way to one of the latest minisodes (Mini Episode 3 - Super Friends).

This framing is not completely incorrect, since Duke is the newest addition to the family. The problem with this framing, though, is that Duke's personality and problems are never the focus - in these episodes we learn a lot about the other Batfam, and nothing about Duke.

Take "Vigilante Bingo". We learn so much canon stuff about Dick, Jay, Tim, and Cass, including who's died/come back (Cass and Tim chime in here, which is not very well known in fanon). However, because Duke is the one asking the question, he doesn't get to participate in the answers. This framing makes WFA-only readers learn shockingly little about Duke's prior activities, and they only cover his backstory in episode 76.

Personality

Because of his perpetual outsider status, WFA!Duke's most prominent traits are confusion, timidity, and insecurity.

(I found all these by literally clicking on any thumbnail with Duke in it. He exhibits confusion/timidity/insecurity all the time).

The first two traits - confusion and timidity - is completely antithetical to Duke in canon. Just compare these panels from We Are Robin #6 to a panel from WFA:

Canon!Duke gets shot and thinks to himself: "how baller is that?!". WFA!Duke hears about a booby-trapped lawn and makes that face. This reaction is basically the opposite of the way WAR!Duke would react. I have legitimately no clue how anyone could read We Are Robin or The Cursed Wheel and come away with Duke being timid.

More examples of how canon!Duke acts when confronted with dangerous situations, just for fun:

From We Are Robin #2, we have Duke mouthing off to people he's just met; from Robin War, we have the iconic jumping-out-of-cop-car scene; from Robin War again, we have Duke standing up for one more battle against Damian with absolutely no hesitation.

Duke in canon is headstrong, stubborn to a fault, outspoken, and brave. These qualities just don't come through in WFA.

Insecurity

The third component of WFA!Duke's personality, insecurity, is the only one with some canon basis. Check out this panel from Batman & The Signal #1:

Here, he's struggling with his place in the family, something WFA!Duke also deals with in Episode 75 + 76 ("Worthy"). But I think WFA misconstrued where this insecurity comes from.

Duke's problem is not that he's a meta, it's that he's a meta with "powers no one understands yet". A "walking detective case," so to speak. His insecurity stems from his lack of understanding around his powers, because at this point he doesn't know about Gnomon. WFA somehow turns this into a problem with the powers itself:

This is simply not supported in canon. Duke has no problems using his powers; even in Batman & The Signal, the peak of his canon insecurities, he literally says "go, go ghost vision" (god I love him). Moreover, his powers come from his mom. Saying that Duke feels he needs to prove he's worthy "in spite of" his powers is a complete misreading of Duke's canon feelings. Which leads to my next point:

Family

"Worthy" positions Duke's powers in opposition to Bruce's approval, and though the episode ends with Duke accepting himself, it's clear throughout WFA that his biggest parental figure/source of approval is Bruce.

WFA!Duke talks and thinks about Bruce more than he does his mom and dad, which is genuinely mind-boggling. Canon!Duke talks about his parents basically every single page. It's one of the most consistent aspects of his character!

From We Are Robin #2, Batman & The Signal #1, The Cursed Wheel Part 1, and Batman: Urban Legends #19. Duke's parents are only mentioned in "Worthy" as part of his traumatic backstory, but Duke's parents aren't backstory - they're alive. By neglecting the importance of Duke's parents, WFA is ignoring a fundamental aspect of Duke's character and making him seem like just another orphan.

This panel from Episode 118 is hilarious in the context of canon!Duke waffling on about his parents 24/7. But the erasure of Duke's parents is symptomatic of another problem with WFA.

Supporting Cast

Duke's first multi-parter is Episodes 8/9/10, "Crush". In this episode, Duke asks a girl out, and then she breaks up with him.

First of all, compared to other two-parters (all of Cass', Dick's "Big Brother", Steph's "Belonging", hell even Tim's "Better and Brighter"), this two-parter is incredibly detached from Duke's character. All you learn is that he gets crushes and doesn't like break-ups, which isn't character-specific at all.

Secondly, using an OC as Duke's girlfriend is so bizarre given Duke has 1 canon love interest. Here, I googled it:

Imagine the story we could've gotten with Izzy instead; with them having canon history, this two-parter would've been a lot more impactful, and introduce We Are Robin characters to a WFA audience. I'd also like to point out the difference in how these relationships begin:

Another example of WFA introducing timidity into a scenario where canonically, Duke played it extremely cool (from We Are Robin #9).

WFA uses none of Duke's supporting cast. To be fair, Duke's supporting cast isn't well known, but isn't WFA a perfect low-stakes place to spotlight unknown characters? Harper gets appearances, and she's been neglected by canon for ages. Tim gets to have Bernard, Jason gets literally all of his Outlaws, and there's even a KonCass cameo!

There's a reason why the top comment on every single one of the Crushed eps doesn't even mention Duke.

Shouldn't Duke-centric episodes have comments about Duke? The story is so vague and widely applicable that there's nothing about Duke to comment on, so the spotlight is shifted onto the other Batfam members. If the story had included Duke's supporting cast, think about how much more we could've learned about Duke himself.

Side note: why on Earth is Luke Fox Duke's go-to mentor? They have next to no canon interactions, and while having a Black mentor is something Duke probably needs, he already has one. Batman and The Outsiders sets up the Duke and Black Lightning relationship really nicely. Not to mention in "Worthy," Duke's problem is about having powers, which makes Luke Fox's inclusion (as a non-meta) baffling. Black Lightning would've been perfect!

Conclusion + Wishlist

This is the top comment on Episode 76. I think I've demonstrated how untrue this is, because WFA!Duke doesn't even touch the worst of canon!Duke. WFA!Duke has next to no defining characteristics, which contributes to him being the 'boring' or 'sane' one. To any WFA-only readers, please don't think this is representative of Duke as a whole; reading even just the first issue of We Are Robin shows how interesting and full of personality he really is.

It's disappointing because WFA is a lot of people's only exposure to the Batfam, and portraying Duke like this has only caused them to misinterpret his character. However, there has been improvement - they're beginning to mention his backstory a lot more, which means they've read some of his comics. I still believe they can turn it around!

Here's some improvements they could make, along with some things I want expanded upon:

Stop using Duke as the outsider/newbie character. It's been over 100 eps, he doesn't need that anymore!

Mention his supporting cast, or at the very least mention his parents more

Expand on his canon relationships with Damian, Cass, and Jason, they deserve to be close!

Use his detective abilities/affinity for puzzles

Mention his dislike of heights

Involve him in more shenanigans

I don't have FastPass but please bring Duke back into the fold of S3!!

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.