#can be about any fandom really

[percivalklossowskithefifth]

i honestly feel like some relationships need to be explored even more. much more. preferably in a written form. on some strange site that resembles an archive. the one that we people own.

[hailsatanacab]

A Persuasive Argument - dpxdc

"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."

"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.

"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.

"Precisely! What better time to talk to you all than when you're all actually here!"

"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.

"I'm afraid I've lured you here under false pretences, Tim."

"This is where I live."

"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"

"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"

"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."

"So? We don't need Jason, I've read the Sparknotes."

"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."

"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"

"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"

"No, no, please go back to that, because what the fu—"

"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"

"Oh, yeah, Mr. Wayne! Thanks!"

"Please, call me Bruce."

"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."

Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.

"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."

[rainyrambles-overcod]

day 1 of drawing one of the cod characters until I’m comfortable with trying to find my style

[cosmicredcadet]

"This fandom is so queer friendly!" This fandom literally hates, bisexual, trans, nonbinary, and aspec people but ok.

[thalassous]

yotsuba poses your @yaelokre

[ ID: Four sketched full-bodies of the Lark lined up one in front of the other. Kingsley is in the front on the left, right leg sticking forward and right hand sticking up while their left is sticking forward; Cole is behind them, in a similar pose but with right leg folded in and both hands in a "z" shape in front; Clementine is in the same pose as Cole; and Perrine is also in a similar fashion with their right hand raised up while their left is held palm facing forwards. The background is tan, while the lineart ranges from dark orange to brown from the top to the bottom. END ID ]

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[pettson]

i could make a comment on how tess being overlooked in the tlou fandom is because of the misogynistic views on older women we have in this society where any woman over 35 is not considered sexy anymore and therefore loses her worth, but do i want to

[rookflower]

a lot of "why are we hating on fernsong he's a good boy :(" energy pops up whenever people start getting more critical or petty about ivyfern but it's like. no i truly get it. he is her personalityless nothingburger heteronormative husband she was unceremoniously slapped together with for next gen kids, and the fandom LOVES him because of one scene that implies the bare minimum of decent fatherhood (not even shown on screen. doesnt come to fruition) that suddenly means their offscreen relationship is queering up gender norms or whatever and the best leap for feminism in the series. if i was an ivypool stan id be bitter about that too wtf

[skippingthroughfields]

one thing that's missing from these convos about amc not submitting assad zaman for a golden globes nom that makes it 10x more malicious on amc's part is that a nomination isn't just like oh... ~simple appreciation for an actor's performance. even if there's no win, it results in a profile boost for these actors & them being able to command a higher salary when it comes to future projects. it's something that gets notice on their CV. these studios and networks love being able to market their shit with things like "starring golden globe nominee john doe" or "emmy winner jane doe." the emmys are more prestigious than the golden globes which are more prestigious than the critics choice awards (the one they submitted him for with two other actors lol). actors get nominated and have the opportunity to get attention from social media posts, article mentions, attending the red carpet, having their name announced and a little clip of their acting shown. that's not nothing! attention from possible new fans, publications, execs, peers, producers, directors, fashion houses & other industries which could lead to $$$ and sponsorships. I won't make any presumptions about the cast's finances but I do know amc is probably not paying them their worth, least of all the bangladeshi muslim who barely had any major roles in tv/film prior to the show.

there are fees and costs associated with submitting for awards consideration and FYC ads. the network basically took a look at assad's brown skin and name and said they don't think he's worth the money over the white actor who had less screentime and narrative importance (to the season ig) which is absolutely crazy lmao. it shouldn't be controversial to say that and you can't not discuss this without bringing up sam's name. this has nothing to do with whether he "deserved" to be submitted (and even if I said he doesn't deserve it over assad who's gonna beat my ass?). this white man isn't being persecuted by conversations about blatant racism. but I'd expect nothing less from this fanbase x.

[ghostly-cabbage]

We need to talk about the worst thing about making AUs....

The fact that then when you inevitably think about crossovers you don't want the crossover with the canon you want it with your specific AU. Your brain worms, your circus, but THEN WHAT?

Oh, yeah, to understand this crossover you need to go read this entirely different fic/series? Girl help 😭 you can't do that

[local-limebug]

wanna get back into mdzs but you are all so goddamn weird about jiang cheng

(i don't wanna retype my tags but read them pls... if you are both a wwx and jc enjoyer interact with this post please)

[lesbianherald]

you leaving twitter 🤝 jayce getting out of that noxus contract

at first i was confused and then I remembered my own work and then I honked like a goose

[transmascutena]

the poor little meow meow-ifictation of saionji in this fandom has got to stop i can't take it any more

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[throwawayasoiafaccount]

Why do you think the tides have slightly turned from "Elia deserves better than Rhaegar" to shipping her and Rhaegar together? Like what is the psychology behind these people because I've seen some of them like/reblog anti Rhaegar posts while also shipping Rhaegar x Elia at the same time.

hey anon! my thoughts are a bit messy, but i’ve done my best to explain them coherently :)

so, rhaegar was the best man anyone could have when elia was alive, and most people want the best for their favs. he was considered the most handsome, didn’t have a bad personality, and he was crown prince—meaning elia was almost queen, which is often seen as the greatest role a woman can have. the narrative also treats rhaegar as a beautiful, tragic, haunting figure, and elia actually had this very aesthetically pleasing man all to herself at one point! she was married to him, had children with him, and her life was so close to perfect! but rhaegar just had to go and ruin it. 😠

for many elia stans, if rhaegar hadn’t fallen in love with another woman (they want him to have been a completely different character), then everything would’ve been perfect, and elia would’ve had the best, most desirable life. however, that’s not what happened—elia met a very tragic end, and as a result, these stans feel double the bitterness. because of this bitterness, they blame rhaegar for everything (even though it’s not logical to do so), but he’s just too ‘perfect’ to let go of. so, for years these stans have made rhaegar revolve around elia, filling his tag with posts about her out of bitterness. so, i do believe that this obsession with rhaegar x elia has always been there, but i think it’s become a more favorable stance on the elia stan side of the fandom because of a mix of reasons.

plus, rhaegar is one of the few canon relationships we know elia had, since she’s not much of a character. because of this, and the fact that most people don’t like to stray too far from canon, most elia stans are forced to focus on rhaegar, which has created an echo chamber. basically, if a sentiment about elia and rhaegar’s relationship becomes popular, then the whole elia stan side of the fandom will likely regurgitate the sentiment. (also, this desire to stick close to canon is likely why the elia x arthur ship was so popular. while it’s a total crack ship, it had good aesthetics, and since elia and arthur at least knew each other, it allowed the stans to create their perfect fanfiction whilst sticking it to rhaegar. but remember, elia was actually married to rhaegar and had children with him, so while arthur is cool, rhaegar was always ‘top dog,’ meaning arthur would never be able to match up to rhaegar to most elia stans. also, the arthur x elia crack ship is likely her second most popular ship, which just shows how little elia stans have to work with, so they’re always forced to eventually return back to rhaegar for a lot of things.)

however, even if the elia x rhaegar ship gains more popularity, these stans will never stop hating rhaegar because he wasn’t ‘perfect’—and he wasn’t perfect because he didn’t love elia. plus, rhaegar loving another woman and supposedly kidnapping her is what began the war that led to elia’s tragic death. that’s bitterness times 1000. and while i don’t actually blame rhaegar for the war, i do think that this is how an elia stan sees it. i also don’t view rhaegar’s complex relationship with elia as a bad thing—it’s actually a very realistic take on an arranged marriage between two decent people. but most elia stans will never be able to get over the fact that they almost had everything, which is why many have it out for lyanna, as they consider her a thief who ruined their ‘perfection.’

tbh, that might be why so many elia stans are so obsessed with the idea that rhaegar only got with lyanna because of the prophecy—they don’t want to believe that rhaegar actually loved a different woman and not their perfect self insert elia. that’s a bit mean of me… but i don’t know what else one would call the ‘elia’ elia stans have created.

now that i’ve laid all those thoughts out, i’ll try to explain why the tides seem to be turning… i think it may have something to do with the ‘targaryens are all evil and bad’ sentiment losing popularity. i think this shift has occurred due to a mix of factors, such as years of fandom fights and fandom cycles leading to the targs being more liked now than before. it helps that canon doesn’t actually condemn the targs/favors them quite a bit, and the influx of new targ fans from HOTD has also contributed. this combination of reasons seems to have shifted the way the mainstream fandom discusses all the targaryen characters, including rhaegar. so, with this shift, it’s only natural that some elia stans/elia x rhaegar shippers—who’ve always been there—are using this opportunity to push their agenda. while these stans still hate rhaegar and see him as the bad guy, they just can’t let go of him. and as the mainstream fandom moves away from the anti targaryen sentiment, these smaller corners of the fandom, which tend to be echo chambers, are also affected, which has therefore led to a rise in rhaegar x elia shippers and the ‘shifting tide’ that you’ve also noticed.

[lunarharp]

played dragon age 2...just simple scribbles