#can he read?

[fidgetspringer]

The thing about having a spaniel is that now everything is an activity for two.

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[ktkat99]

Jason comes back from the dead and, as he's still a bit out of it, heads to the manor.

Crawling straight up through six feet of compacted earth is hard, especially after waking up suddenly in a coffin, so after he makes it inside, he sits down to rest on the couch.

And immediately falls asleep.

Hours later, Bruce returns home to find Jason's body, covered in dirt, dug up from the grave and left on his couch.

[cryptocism]

"just as I did, in 1983."

you'd never know my favourite parts of the show are the fucked up insane bits when my first instinct is to draw the cheesiest thing imaginable

[ditzybat]

jason: you don’t even know what my favorite book is, how could you even stand to call yourself my father if you don’t know me anymore!?

bruce: jay, your favorite is pride and —

tim: the velveteen rabbit.

jason: … i’ve had like two conversations with you outside of murder attempts, how do you know that?

tim: im not an amateur, i took my baby stalker duties very seriously!

[roninkairi]

You can only reblog this today.*

*PLEASE READ THE TAGS

[madscientistenthusiast]

Personally I think that Azula should have been redeemed simply so that she can become Zuko's horrible little advisor who whispers evil little plans to him so that he can do the exact opposite

[demigods-posts]

headcanon that percy is historically hard to beat at monopoly. and it's intially the most mind-boggling thing ever watching him turn the tide of a game. because he's definitely losing at the beginning. but percy is not only an amazing strategist. he has a deep understanding of money and knows how and when to bet on the board. he knows when to test his luck. and he's amazing at getting into people's head.

[plainclothesdisaster]

Danny’s on the Suicide Squad. He’s the defacto team moral compass and ray of sunshine. He plays the role of the camp counselor that keeps everyone in line. He’s not afraid of working with even the gnarliest of baddies.

Everybody on the team wonders how he ended up locked up with the villains- he never talks about what he did to end up behind bars no matter how much they pester him. Then one day they’re out on a mission and Harley or somebody is caught and tortured. Danny snaps. It’s the opposite of brutal- he takes down everyone in the room with clinical, dispassionate efficiency.

After it’s over and the team is safe he comes back to himself and is almost sheepish. He radios Belle Reve.

“Whoops. Add another couple notches on my power dampener collar, would you Waller?”

“Can’t, it’s already at max.”

“Ah. Well. I’ll have a look at strengthening it when we’re back then.”

The team just stared at him slack jawed. Good thing he’s on their side.

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[ceeejus]

break in the case

[hinamie]

yuuji smiling and sukuna making a face like That did u really think i wouldn't do a panel redraw

[saltymarshmall0w]

Danny is "in denial" about the Waynes being vigilantes

Danny is really grateful for the Waynes taking him in and all but it’s just… it’s really obvious they’re vigilantes. Do they WANT him to find out? Why?? To join their battalion?

Hell nah. He’s already got enough going on trying to keep in check the many shades in the city.

Danny simply pretends to be oblivious about the Waynes being vigilantes. That's a future Danny problem.

It turns into Kyle levels of denial, where he ends up pretending he thinks the vigilantes are actors hired by the city to cover up all the ghosts haunting Gotham.

And obviously, the city bases them on the infamously growing Wayne family. It's so sweet of the Waynes to volunteer to dress up as their character for public appearances.

Meanwhile, Bruce has banned outright telling Danny even though it's been nearly a year of him living with them. So what if Danny glows sometimes and has full conversations with invisible people in dark alleyways, everyone has their quirks! so, the Batkids have resolved to just "accidentally" leave their mask on after patrol or make tactical plans loudly about taking down Penguin's latest scheme with Danny a room over.

-

“Is Dick coming to the Gala?” Danny asked as his head swiveled between his phone and the mirror as he attempted to tie his own tie. How did his mom always make it look so easy?

“No, he is going out as Batman tonight, since Father is unable to.” Damian responded. He may as well be blasé about their identities, seeing as Fenton was obviously both completely aware of their identities and completely in denial.

“Oh, man. Does that mean one of the “rouges” are going to attack the gala?” Danny asked, “It’s probably going to be that Two-face guy, huh? He hasn’t made an appearance in a while and his character arc with “Brucie” hasn’t made any progress in a while.”

“Nonsense, there is no predicting the mindset of a criminal like Two-face.” Damian ignored Danny’s disbelieving scoff as he maneuvered his newest brother to face him so he could take over the task for him, else they would be standing there all night. “Besides, Drake is in charge of security for the gala and will do an adequate job securing the venue. If you are afraid remain by my side where I can protect you.”

Damian tightened the tie around Danny's neck and stepped back to let Fenton pull his own collar down.

"That's very sweet of you, Dami." Danny reached up a hand and mussed up Damian's newly-gelled hair, garnering a growl and a shove from the boy. "But you should do normal kid things during the gala, like accidentally saying rude things to old ladies, or complaining about how bored you are, and don't forget to prank all the evil billionaires."

...

The “I told you so.” Danny brazenly mouthed to Damian later in the evening from where Two-face held a gun to his head was as infuriating as it was distressing.

—

(Kyle Weston is the fanon brother of Wes Weston (also a fanon character) who’s whole thing is that he believes in conspiracy theories like Wes, but doesn’t believe in ghosts at all to Wes’s frustration.)

[coddda]

I wish we could have met in some other way.

Lawlight Week Day 2: Soulmates

If you saw me repost and re-edit this several times uh No you didn't </3

Still frames/Individual gifs:

If you know what every frame is from you get a free cookie. by the way

[obsob]

to be loved is to be held!!! print

[starry-bi-sky]

I am loudly pushing the batdad agenda i am loudly pushing the— DPxDC Prompt

“Woah. You look like shit."

Granted, that’s probably not the first thing Danny should be saying to the guy that just bit the curb, but in his defense; he’s not running on 100% right now either.

The man -- tall, towering, and broader than Danny is tall -- whips around on his heel, black frayed cape flaring out impressively. Danny would've whistled in appreciation, but he takes the time instead to wipe the back of his hand across his mouth, smearing the blood running from his nose across his cheek.

"Sorry." He blinks widely, not even flinching as the man with the horns zeroes in on him. "That was rude of me. I have a really bad brain-to-mouth filter; Sam says its what always gets me into trouble."

And she's not wrong either, per say. His smart mouth is what landed him in this situation -- with blood blossom extract running through his veins and cannibalizing the ectoplasm in his bloodstream. Thanks Vlad.

The man grunts at him; a short, curt "hm" that shouldn't make Danny smile, but he does because he's somewhat delirious and probably concussed. The man keeps some kind of distance, sinking towards the shadows of Gotham's alleyway like he dares to melt right into it.

If it's supposed to scare Danny, it doesn't work. Danny's never been afraid of the dark; he's always been able to hide himself in it. He blinks slowly at the mass of shadows.

"You look hurt." The shadows says, blurring together around the edges. Danny squints, and licks his lips to get the blood dripping down his chin off. Ugh, he hates the taste of blood.

"I am." He says, "My godfather poisoned me. M'dying." The agony of the blood blossom eating him from the inside out looped back around to numbing a while ago, so all he feels is half-awake and dazed.

"Hey," Danny stumbles forward towards the man, a bloodied hand reaching out to him. "You-- you're a hero, right? You're not attacking me; which is more than I can say for most costumed people I've met." Maybe it's a poor bar to judge someone at, but he's already established that Danny's not in his right mind.

The man makes no change in expression, but Danny realizes blearily that it's hard to tell with the shadows on his face. He stays still long enough for Danny to latch onto the cape -- stretchy, but almost soft under his fingers.

He looks up blearily into the whites of the man's eyes. "Can you help me? I don't-- I don't wanna die." Again. He doesn't wanna die again. He blinks slow and lizard-like. "I mean- I'll probably get to see mom and dad again, but I told them I'd at least try and make it to adulthood."

There's a clatter down the street, and Danny's ghost sense chills up his spine and leaves a bitter, ashy taste in his mouth. He immediately knows who it belongs to even before the deceptively gentle; "Daniel?" echoes down the way.

"Daniel? Quit your games, badger, Gotham is dangerous for children."

Danny's mouth pulls back, and blood spills against his tongue. "Please." He rasps, and grabs onto the shadow's cape with both hands. "Please. He's going to kill me. Please--"

"Daniel? Is that you?"

His lips part, dragging in air to plead with the darkness again. He doesn't need to, the whites of his eyes narrow, and the cape whirls around him before Danny can blink. Soon swaddled in shadows, the Night lifts him up, and steals him away.