#classic cartoon scenario

[smimon]

Käärijätober day 14 “Kids”

[redbuddi]

I think we as a society need to be reminded how good the original Powerpuff Girls was. Here's some of my favorite things about it:

the fight scenes had a level of punchiness and impact that was rare for cartoons of the nineties, and fight scenes that were way better than what one would expect from a comedy

The character writing is so good that a large portion of the show's most iconic episodes consist of just showing how the girls' personalities react to different scenarios, for example in one episode the girls take turns recapping a fight that had just happened, and the tone and art style of the flashback changes depending on whose telling the story

One of the recurring extras is a talking dog that goes about it's day like a normal human

Each girl has mostly the same powers with one special ability that sets them apart. Blossom has ice breath. Bubbles can speak to squirrels and is also fluent in Spanish. Buttercup can curl her tongue.

while the majority of the show is lighthearted comedy sometimes it'll just decide to be nightmareworld for an episode and i think thats pretty cool

The show utilizes a blend of classic upa linework and sixties art deco shapism to create a visual style that is utterly timeless. If the majority of the show wasn't cell animated you would not be able to guess when it came out

The main villain's speaking patterns were directly inspired by The Super Dictionary. AKA, the same book that brought us this:

You can tell.

In the season one finale, the girls fight a giant monster using a mech suit. During the fight, there is a sequence that is literally just 20 uninterrupted seconds of an absurd amount of missiles coming out of every possible orifice of the robot. And then they miss.

There was an anime adaptation made in the 2000's and its actually pretty good, like it does take a lot of creative liberties but its clear that the people making it understood the spirit of the original show and were just adapting it to reflect japanese pop culture in the same way the og show reflected american pop culture.

The show had an insanely kickass soundtrack consisting of early techno so clean it's kind of shocking that it was made in the late nineties and not the early 2010's pre-dubstep era

satan is there and he serves cunt

[fatehbaz]

This April [2021], the Iowa Department of Corrections issued a ban on charities, family members, and other outside parties donating books to prisoners. Under the state’s new guidelines, incarcerated people can get books only from a handful of “approved vendors.” Used books are prohibited altogether [...].

In 2018, the Michigan prison system introduced an almost identical set of rules, and Ohio, Pennsylvania, and Washington have all made attempts to block book donations, which were only rolled back after public outcry. Across the United States, the agencies responsible for mass imprisonment are trying to severely limit incarcerated people’s access to the written word [...].

---

The official narrative is that donated books could contain “contraband [...]" -- the language used in Michigan [...]. This is a flimsy justification that begins to fall apart under even the lightest scrutiny. [...] [Contraband] [...] [is] not originating from nonprofit groups like the Appalachian Prison Book Project or Philadelphia’s Books Through Bars. [....] The old cartoon scenario of a hollow book with a saw or a gun inside just isn’t realistic, and its invocation is a sign that something else is going on.

That “something else,” predictably enough, is profit. With free books banned, prisoners are forced to rely on the small list of “approved vendors” chosen for them by the prison administration. These retailers directly benefit when states introduce restrictions. In Iowa, the approved sources include [B&N] and [B-a-M], some of America’s largest retail chains -- and, notably, ones which charge the full MSRP value for each book, quickly draining prisoners’ accounts. An incarcerated person with, say, $20 to spend can now only get one book, as opposed to three or four used ones; in states where prisoners make as little as 25 cents an hour for their labor, many can’t afford even that.

---

With e-books, the situation is even worse, as companies like [GTL] supply supposedly “free” tablets which actually charge their users by the minute to read.

Even public-domain classics, available on Project Gutenberg, are only available at a price under these systems -- and prisons, in turn, receive a 5% commission on every charge. All of this amounts to rampant price-gouging and profiteering on an industrial scale.

---

The rise of these private vendors has also been mirrored by the systematic dismantling of the prison library system. In the last ten years, budgets for literacy and educational resources have seen dramatic cuts, reducing funding to almost nothing [...]. In Illinois, for instance, the Department of Corrections spent just $276 on books across the entire state in 2017, down from an already meager $605 the previous year. (This means, incidentally, that each of the state’s roughly 39,000 prisoners was allotted seven-tenths of a cent.)

Oklahoma, meanwhile, has no dedicated budget for books at all, requiring prison librarians to purchase them out-of-pocket. [...]

---

These practices become all the more abhorrent when you consider the impact books can have behind bars. By now, the social science on their benefits is well-established [...]. [O]ther inmates have reported that reading meant “the difference between just giving up mentally and emotionally and making it through another day, week, or year,” countering the dehumanizing effects of their imprisonment. A book can offer a brief, irreplaceable moment of calm in hellish circumstances. [...]

[There is] a shameful pattern in American society, where many people simply don’t think about the incarcerated on a day-to-day basis, let alone sympathize with their worsening conditions. [...] One of the most common arguments for the American carceral system, and its continued existence, is that of rehabilitation. According to its defenders, a prison is not simply a place of suffering, where unwanted populations are sent to disappear. Nor is it a callous money-making machine, intended to squeeze free labor from them in a regime of functional slavery. Instead, prison rehabilitates -- so the story goes. [...] In these terms, the basic legitimacy of mass imprisonment, and its allegedly positive social role, is taken for granted. [...] But the practice of book banning exposes the lie. Not only do American prisons have little interest in education, healing, and growth, but they will actively prevent them the moment there is a dollar to be made or an ounce of power to be secured.

---

Text by: Alex Skopic. "The American Prison System's War on Reading". Protean (Protean magazine online). 29 November 2021. [Bold emphasis and some paragraph breaks/contractions added by me.]

[opossumprints]

You're Weird--I'm Weirder

------------------------------------------------------------------------------

POV Eddie, a part 2/continuation of this, now with part 3

Eddie has a problem. Like Eddie Munson, the person has a problem. On a psychological level. Normal people have problems like flat tires or going to the store only to find that they don't have their favorite cereal. But noooo, not Eddie. He just has to be different. 

Eddie is sitting on the floor of his room–which, to be fair, is a pretty normal thing to do–staring at eight pristine pairs of underwear. Odd, but not totally out of the question. The freaky bit is that not a single one belongs to him.

Eddie spread them out, laid them in a straight line, sat down, and wondered how the hell he got here. 

In theory, he knows exactly how he got here. It had started on a completely normal Sunday laundry day. The Munsons have a system; every Sunday morning, Eddie unceremoniously chucks his dirty laundry in a bucket, chucks the bucket into his van, and drives his sorry sleepy ass down to the town's cheap, dingy laundromat when the church crowd is too busy doin’ their thing and the building is at its quietest. 

The system worked very well for Eddie. The structure meant he actually got his laundry done instead of leaving it piled in a corner, and it gave him an excuse to get out of going to church with his Uncle Wayne. 

It's not that he didn't love his uncle; he just hated going to church (and the people at church hated him, so it’s a win-win scenario). 

The only problem came about Sunday, the 16th of February, 1986 (yes, he remembers the day, it's that bad). That problem’s name is Steve freaking Harrington. 

Eddie had walked in like normal, said hello to the owner like normal, and walked to his normal machine near the back. The day was totally and completely normal except for the fact that when he looked up, Steve was standing right there. 

Eddie had been so surprised to see King Steve in a crappy laundromat of all places that he had frozen mid-step and lost his balance. It also just so happened that Steve’s basket of dirty laundry was directly under his foot, and when he teeter-tottered over, Eddie stepped right in it and slipped like it was a cartoon banana peel. 

Clothes had flown everywhere. 

Eddie had been so preoccupied with apologizing that he wasn't paying attention to whose proverbial panties he was snatching. It hadn’t been until he dumped his clean clothes on his bed to sort and put away that he even noticed the pair of underwear he'd nabbed definitely weren't his. 

It was an honest mistake—one that anyone could have made. The boxers looked like something Eddie would buy: red with a black waistband, probably came in a three-pack with a matching blue and gray pair. 

If it wasn't for the fact that the tag inside read “Stevie” instead of any of the crude jokes Eddie labeled his underwear with, he probably wouldn't have noticed.

Obviously, Eddie couldn't give them back without risking having his face pummeled, so he shoved them in his closet, and that was that.

Or it would have been, but it kept happening.

From that point onward, every Sunday, Eddie would come back from the laundromat only to discover underwear that didn't belong to him and definitely belonged to Steve.

The real kicker was that he couldn't remember stealing a single one! Besides the first pair, he had no idea when and how the offending underwear ended up with him. 

So now here he is, sitting in front of a line of underwear and contemplating his life choices.

(And admiring his collection. But only a little!)

Oddly, each pair got, how could he put this, more…cutesy? than the last. The first pair is solid red and normal, but the second pair is a sweet and buttery pastel yellow. Pair number three is baby pink. Number four is the first pattern, a classic white with red hearts. Pair number five is also pink, but this time with pale five-petaled flowers scattered across them. And so on.

He can excuse the patterned ones as probably some sort of Valentine's gag gift. It had been two days before the initial panty pilfering after all.   Not that he needs excuses for the pattern of boxers he doesn't own. What he has no excuse for is pair number eight. 

Pair number eight is made out of silk and lace, the color of bittersweet nightshade. They have Stevie written on the label like all the others. They’re teeny and sweet and most definitely lingerie. And they're driving Eddie up a wall!

Not even for the normal reasons! Most dudes like Eddie would be losing their minds because they stole lingerie from their crush, but the thing that's bugging Eddie is that there is no possible way he’s the one who stole them. 

Eddie was extra careful today. He kept his head down, and he chose a machine further away from Steve, he didn't even talk to the guy. 

(Steve had come over to talk to him since Eddie's grand spill. The first time it happened, Eddie was fully prepared to meet his maker, only for Steve to ramble out apologies rapid fire. It turns out that Steve had spent the whole week guilt-ridden because he had left his basket in the middle of the walkway, which caused Eddie to slip.  Poor guy didn't calm down until Eddie had reassured him no less than 15 times that he wasn't hurt and they were totally cool.)

It had become part of the routine, part of the system, for the two to have a conversation before one or the other left. But not today. today he was careful. The very second he had noticed Steve make his way over out of the corner of his eye he made a break for the bathroom. Never before had he been so grateful for the fact that Sudsy’s had a toilet left over from when the building was something else. 

He hid there for as long as was socially acceptable before slinking out to start his drier cycle. He waved to Steve across the room when he saw him. Just to say they were still cool. No other reason. 

The point is that the only time he was anywhere near Steve’s laundry basket was when Eddie passed it on his way out. He definitely did not grab anything then. Or at least he thought he didn't. 

Oh god did he? Was he so far gone that he didn't even notice?!?!

Eddie groaned and dropped his head into his hands. Hands that were still holding the underwear, the underwear, The probably not clean underwear, the–Jeasus, maybe Eddie did need to go to church ‘cus the thoughts he is thinking are not pure!

What does he do now? He can't turn himself in, he’s in too deep. But if this continues… well he doesn't know what will happen, but it can't be good!

For now, he figures that as long as Steve hasn't figured out where his underwear wandered off to everything will be fine. 

Hopefully.

On the bright side, Eddie probably still has another hour until Wayne gets back. He can think of plenty of ways to fill that time.

------------------------------------------------------------------------------hehehehehe Steve and I are twirling our collective nonexistent evil mustaches. If anyone was disappointed that Steve didn't show up much another part is already in the works. so don't worry! more is on the way.

[parachutingkitten]

Just so everyone is aware, ayathefly, the account who claims to be a temp voice actress for Dragons Rising, is almost certainly my cyber stalker from last month.

She has almost the exact same story as one of the stalker accounts used to try and befriend me. Back then she was a 23yo temp voice actress named Maya who had a comedically whimsical story about her not knowing information about the ducktales reboot she was hired for. This time she's a 23yo temp voice actress named Aya who has a comedically whimsical story about not knowing information about the Ninjago reboot she was hired for. Both the accounts used generic profile pics from classic cartoons, reblogged posts of mine shortly after creating their account, and had this manner of speaking in their posts which immediately set off alarm bells in my head.

In case you are not privy to the saga, this person made a bunch of false accusations about me on one account while defending me on another in order to, I guess, try and win my favor. This after harassing, threatening, and otherwise pestering me on a number of spam accounts. This includes the full range of pretending to be a fan with a tragic story about a dead brother, to weird sex foot fetish fantasies. Since then I have received emails claiming to be showrunners interested in my feedback which I'm also certain are her.

I have also linked them back to the zanenindroid account, and the parachutingkitfanpage, both abandoned at this point, presumably because they didn't get traction.

I need you to understand I was on the fence about sharing this information. Even if they're making my life annoying, this person has at times claimed to be 16 in messages to me in the past (I figure it's possible that the 23yo thing might just be her pretending to be my same age) and I don't want to be the guy who calls out a kid who lied on the internet to try and get friends- even if what they're doing is ABSOLUTELY inexcusable, it's only really affecting me. I know how to use the block button. Turning off non-follow messaging and anon asks is annoying, but not that huge a deal if it means cutting off avenues for them to contact me.

But recently my MOTHER informed me that she got some strange messages from someone claiming to be a 23yo voice actress, and tried gaslighting her into believing she knew her mom from a writing group like 10 years ago (which is not possible btw), and should TOTALY introduce her to me, because we're the same age, and both interested in animation.

I can't not talk about this anymore. When you bring my family into this, you lose any attempt at mercy from me.

Especially given we have quite a few minors in the fandom, I feel obligated to say something. I would not feel comfortable with anyone I know or care about interacting with this person, regardless of how harmless this person thinks their intentions are. They have proved themselves to be a manipulative, lying, unhinged, and obsessive personality willing to put someone they presumably like through some of the scariest scenarios you can find yourself in on the internet- and then drag your family into it. I would ask that you do not interact, do not give them the time of day, do not try to reason with them, and try your best not to be fooled by new accounts that pop up a week from now with suspiciously similar behavior, because I'm almost certain that will happen if Aya goes silent.

Maybe you think I'm paranoid, and over blowing things, and that's your call to make, but I would not be making this post if I did not feel strongly about this.

Even if somehow this is not the same person, and I am falsely linking these two nearly identical identities, at the very least Aya is not who she proports to be. She claims to have provided temp voices for season 3 just this month (temp voices being temporary voice work done before the actual actors are able to record their lines), but Devon Mack (voice actor for Arin) has confirmed that he was in the middle of recording the official dialogue for season 3 back in January of this year. The idea that the production team would only just now be recording TEMP dialogue for animation that's going to release in just a few months is an absolutely WILD claim. I can not convey to you what an insanely truncated timeline that would be. I don't even think that Dragons Rising is a the kind of show to use temp dialogue, none the less have the budget and time to hire out if they did need temp voices, rather than just using production members like most temp work.

Please, be careful out there everyone.

I'm praying I never have to address this again.

[lazycats-stuff]

can i request a scenario where the reader, who has been trained as a weapon for most of their life, struggles with expressing their emotions. The reader has been adopted by the Batfamily and is injured during a mission. They try to hide their injuries, but Dick or Jason (or both) find out and scold the reader for keeping it a secret. The reader responds by saying that they didn't think it was a big deal. it was a big deal. So it’s fluff and angst. The scenario can end with the Batfamily having a movie night after patching the reader up to help them feel better. If the scenario crosses any boundaries, please feel free to change anything necessary.

Don't worry, everything is well within my boundaries. And also, thank you for 500 followers! I still don't know how I managed that with what I call writing.

Summary: (Y/N) hides his emotions. After an injury, Jason and Dick can't stand it.

Warnings: medical inaccuracies, mentions of training before the batfam, Dick and Jason being good brothers, (Y/N) being emotionally constipated, Bruce trying to get closer to (Y/N), angst, fluff

Also, this is such a cool gif, (V/N)= Vigilante name

A weapon. That's all that he was taught. That's all he could remember. A weapon has no emotions, he remembers them saying. A weapon needs to fit in wherever they are. He was always told that his emotions don't matter, that the missions matter more. The goal was more important.

For a long time that's what he was told. His chances of fighting against his handlers are non existent. His chances at normal life were non existent.

That was until a mission in Gotham.

Batman and his birds somehow managed to capture him. (Y/N) still doesn't know how they managed to find him in Gotham. He blended with the shadows, just like he was taught. (Y/N) then realized why Batman was called the detective and why he was so respected and feared in their world.

(Y/N) also didn't expect to be adopted by Bruce Wayne, a man who turned out to be Batman. And more so, (Y/N) didn't expect to have choices. What to wear, what to eat, even when to wake up.

(Y/N) was never given a choice.

It felt nice knowing that he had some sort of control over his life. For the first time ever. And everyone introduced him to a lot of his firsts. Disney movies and cartoons, different kinds of candy since he wasn't allow sugar, books that are not literature classics and playing sports like basketball, football, but not American.

And it was great, but one thing that his new found family couldn't do was make him show emotions. (Y/N) still struggled with that. No matter how much he was told that it was fine and that it wasn't a sign of weakness, he couldn't do it.

One more thing they noticed how he was dismissive of certain things. They couldn't get him to rest, not even when he was sick. Not even the flu could keep him resting. Bruce had to put his foot down when (Y/N) said he wanted to go on patrol while he had a flu.

Bruce was going to maim the people who raised him in that way. Jason and Dick are going to help him too.

(Y/N) emotional unavailability hit a breaking point when he was injured. They were out on patrol and all of a sudden, they were ambushed by Deathstroke and some of Ra's assassins. (Y/N) see a fight from a mile away.

He still didn't know how Deathstroke managed to freelance for Ra's al Ghoul. Deathstroke watched him with his good eye, clearly interested in him for being a new member of the Batfamily. But there was also some sort of familiarity.

"Good job detective. You managed to adopt (V/N), a living weapon. " Deathstroke said, parading up on the railing. (Y/N) didn't say anything to that, but he could sense Bruce's anger rolling off him in waves.

Dick gripped his batons tighter and Jason gripped his gun tighter. (Y/N)'s eye were back on Deathstroke's and the two locked eyes once more.

" (V/N) is not a weapon Slade. " Jason jumped to (Y/N)'s defense.

" Well, the rest of the criminal world doesn't think so. (V/N) was known as the boogeyman, the one thing you don't want to find in the dark. " Deathstroke said, taking his blade out of his holster.

" I, up until now, never had a chance to fight against (V/N). But I will have a chance to kill him. " He finished, jumping over it. The other assassins followed his lead and jumped right after him.

(Y/N) had some experience with Ra's al Ghoul's assassins. Thankfully, Ra's had enough respect for (Y/N) and decided to leave him alone and not kill him. But it seems that the tables have turned on that matter.

The family tensed up and Jason pushed (Y/N) behind him a little bit.

" What does Ra's have with (V/N)? Why do you need his help to kill him? " Batman questioned, also moving to the front to cover (Y/N).

" It doesn't matter detective. What matters is that he is dead tonight."

Batman went after Deathstroke, not going to allow him to go after (Y/N). The young vigilante wanted to go after Deathstroke, but the two assassins jumped in front of him and (Y/N) was forced to deal with them. What a nuisance.

He fought alongside Jason, before moving to fight alongside Damian. Bruce and Slade still fought with all of their might. (Y/N) said screw it and jumped into the fight with Deathstroke and Batman.

He wasn't going to allow Deathstroke to win. And if he wants to kill him, why not give him a fair shot. Deathstroke's good eye locked with (Y/N)'s and (Y/N) went at it.

Batman wanted to stop (Y/N), but once (Y/N) got into a fighting mode, it was impossible to stop him. Bruce and (Y/N) worked together, but Deathstroke was just as equally good.

(Y/N) was thrown back with a nasty kick to the stomach, making him cough and spit out blood. He grunted, ready to strike back regardless. He was always taught to suppress the pain and just keep on going.

He dodged a punch before landing a punch on Deathstroke's mask, knocking off of his head. Batman swopped in and finished him off. (Y/N) got back into a fight Ra's assassins, dodging through their blades, helping others finished them off.

After it was all said and done, they called the GCPD to pick them up.

" Good job everyone, lets get home. " Batman said, gathering them all up.

" Thank God. We spent way too much time here anyway. " Jason said, already going out. (Y/N) couldn't agree anymore. He feels like something is off with himself. He could always tell, even before it hit him out of nowhere.

" Come on, (V/N). " Dick said, passing by (Y/N).

(Y/N) managed to sneak up out of the cave. He hoped that he was unnoticed. He knew that something was off. He knew that his ribs were fractured, but not broken.

He didn't want to do this in front of anyone and besides, he knows how to treat them. He has done it time and time again. He went to his bathroom and squatted down to get the tapes. Thankfully, it didn't hurt this really bad.

Then he opened the mirror and took a pill for the pain. He put a shirt on and was ready to go out for ice, but a knock on his door made him freeze.

" (Y/N)? We know you are here, you didn't get checked out by Alfred and you suffered a nasty kick to the stomach. " Jason said, voice muffled by the door.

" I'm fine, suit absorbed the kick. " (Y/N) lied, putting the tape away.

" (Y/N), I have a great bullshit detector and you just activated it. " Jason said, opening the door of his room, Dick following him. Jason and Dick looked at him before Jason pointed at the shirt.

" Come on. Off. "

" Nope. "

" (Y/N). Please don't tell me you are hiding an injury. "Dick said, hoping that it wasn't true.

" It's not a big deal. " (Y/N) mumbled.

" It is! I mean, we can patch you up! Is it a question of vulnerability? " Dick said, moving closer to (Y/N).

" Also, if it's the stomach or the ribs, you need to check it out. " Jason added, trying to deescalate the situation.

" Guys, I'm fi- "

" (Y/N), I swear to God, say that you are fine and I will manhandle you and patch you up roughly. " Jason said, rubbing his forehead.

" (Y/N), injuries here are a big deal. We patch each other up and that way we help each other out. I know it's not easy to forget the habits that were installed in you, Damian is a living proof of that. But you have to let others in. You are our brother and we love you. Some might not show it, but they do. " Dick said, putting his hand on (Y/N) shoulder.

" And when we patch each other up, we strengthen that love and trust. We protect each other and trust each other. And again, I know it's hard to go against everything that was installed in you, but this is a safe place. " Jason added, helping Dick with his point.

" Come on, lets get you checked out. " Jason said, opening the bedroom door.

Dick told everyone about (Y/N) hiding his injuries and suggested a movie night to make (Y/N) feel better. The others didn't like that fact. How come they didn't notice it before? How many times was (Y/N) in pain and they didn't notice?

" How about a movie night? Maybe a Harry Potter marathon? " Jason suggested, already taking the blankets and extending the couch that will make sure to fit them all.

" Okay, bring more pillows Tim. " Jason said to Tim.

" Somebody can bring some snacks. Some chocolate for (Y/N). " Jason said, arranging the blankets. Tim got up and started walking to the kitchen.

" Damian, you are going to give him talk later about hiding injuries. " Jason said, making Damian huff.

" Don't huff at me. " Jason warned. Tim came back with the pillows and put them all around.

Dick, (Y/N) and Alfred came back a few moments later. Dick was all smiles as he led (Y/N) to the couch. " Now (Y/N), lay down. "

" They know, don't they? " (Y/N) said, looking at the all smiling Dick.

" We told them, but they are not judging you. " Dick answered.

(Y/N) didn't say anything, instead he laid down on the couch, taking a blanket, covering himself. Bruce laid down next to him and the other followed quickly. Even Alfred joined.

Bruce laid down next to (Y/N), moving his arm to put it behind (Y/N). Then he put his arm around (Y/N)'s shoulder, bringing him closer to him. (Y/N) was a but startled, but relaxed into the touch. Even more, he leaned his head down on Bruce's shoulder.

Everyone noticed it and everyone was happy. Maybe he will be finally be happy and less emotionally unavailable. Maybe (Y/N) will be able to let go of the demons hunting him.

[howtofightwrite]

thank you for the clear, honest response! but i will admit to being caught off-guard since i wasn't suggesting the scenario from the protagonist's point of view at all, but rather from an antagonist or villain sort of perspective. i went in with the assumption that it was the less morally upright person making violent actions (i.e kidnapping) and the hero protagonist experiencing the fallout.

your words felt very much like what i was trying to say in acknowledging that it's dangerous, but more concise; perhaps i simply was overzealous in crafting the scenario? i am sorry for giving the wrong impression.

it might be helpful to state that it was actually my only ask to this blog aside from this one; it has no connection to other inquiries regarding heroes taking violent action. i might have had the impression that a previous anon was writing a detective story of sorts, where the protagonist was dealing with opponents who wouldn't hesitate to use violence, and thougnt to state what i felt could be done to keep the protagonist's head relatively intact despite head injuries. my apologies for the broad assumption!

Yeah, without wanting to light you up this time, the problem with the scenario is a little deeper than I might have addressed in the previous comment. And, in fairness to you, that was a long ask, and Tumblr doesn't accommodate my preferences for how to fully respond to comments like that. (Which is to say, break it into pieces, and deal with each part independently.)

The problem you're running into is an idea that heroes and villains view violence from fundamentally different perspectives. In isolation, this isn't automatically a bad thing, but it does leave you vulnerable to engaging in some classic Saturday morning cartoon grade philosophy. “The bad guys only use violence because they're bad, but the good guys only use violence because they're good.”

Again, if this fully terminated in a discussion about how proportional use of force can be an appropriate, or sometimes even a necessary, response, that would be one thing. Unfortunately, a lot of writers stop at that point, and internalize a double standard for violence based on an artificial delineation that doesn't even exist in their characters' world.

There are a lot of reasons that the author can pull hard for their protagonists, and those will spill over onto the audience. The protagonist is (probably) the character the author identifies most with. As the primary PoV character, the protagonist is in the best position to advocate for their own thought process. Due to sheer exposure, and whatever adversity the protagonist has experienced up to that point, they audience is also likely to be more sympathetic to the protagonist's position.

This does mean, when your protagonist starts going over the line, your audience is going to be less critical of their actions. At least, up to a point. You can take this all too far, and lose your audience, which is part of where our cautions about violence come from. But that's an adjacent issue.

However, within your world, it's important to assess when, and how, characters use force based on who they are. And, in fairness to you, that was something you were partially conscious of. The critical hiccup was that the roles of protagonist and antagonist are agnostic to who these characters are in your world. People will use whatever tools are appropriate for completing their objectives, regardless whether you think they're the hero or villain. That includes, potentially, use of force.

The distinction I made poorly is that your kidnappers don't use force because they're the villains, but they use it because it's a critical tool for doing their job. I'm struggling to come up with a scenario where you'd have a human trafficker as the protagonist of your story, but it's not going to fundamentally alter their approach to violence, nor their methods. (Not saying the scenario is impossible, but it would run the risk of being extremely distasteful.)

Perhaps, a more palatable example would be an assassin. They're still popular as edgelord protagonists, and can just as easily be antagonists. However, they also do a fantastic job of illustrating that the hero or villain status doesn't (especially) alter the evaluation of whether they're a protagonist or antagonist. Leaving a large body count, in either case, simply means that that something got out of control, and in either case, this is someone who's been killing people.

Something that might seem like a non-sequitor at first, coming out of the Patreon Discord server last week, was a reminder that, when you're using the D&D alignment chart, you can absolutely end up with evil protagonists. Not even in the sense of villainous protagonists, like with The Godfather films and novel, but characters who are genuinely the hero of the story, and evil. My preferred example of this remains Jack Bauer (Keifer Sutherland) from 24.

The inverse is much rarer. Some Javier-style investigators probably fit the bill of good-aligned villains. Though, these are usually paired against criminal protagonists, or at least protagonists who've been framed or falsely accused.

The reason this tangent is relevant is twofold. First, it's important to remember that your protagonist can be evil. They can, absolutely, be a bad person. As mentioned earlier, because they're your PoV, they'll get some deference from the audience simply from being their primary point of access to the world. Second, concepts like good and evil may be far more determinative over their use of violence, but the idea of protagonists and antagonists exist independently of that. Who your characters are will have a much bigger impact on the degree of violence they'll be comfortable with inflicting.

Beyond this, there is a real problem for a lot of writers, who think about violence with that Saturday morning cartoon logic. It's absolutely fine to have extremely violent protagonists, however, the question you need to start with is whether that violence fits with who they are, outside of their role in the story you're telling.

Related to this, and it drives a lot of the, “I want a protagonist who doesn't kill people,” is the idea that your protagonist needs to be a good person. They don't. And having a protagonist who inflicts grievous harm on people, but stops short of actually killing them doesn't absolve them of the harm they're causing. You can argue that someone who tortures someone, “for good reasons,” and finishes with a mock execution is less evil than someone who does the same but simply executes their victim when they're done, but both of these are pretty evil acts across the board, and you'd be pretty hard pressed to argue that the former is fully innocent, when lasting harm has been inflicted upon their victim.

So, ultimately, as a general rule, knockouts don't work. It's a kind of moral hand-wringing that authors engage in because they're afraid of their characters being perceived as bad people, or because they want a consequence free way to close out a fight scene. Just like in the real world, knockouts don't really do what the author wants, because they're, at best, a deferment on future violence. The impulse to preserve your character's moral high ground is certainly understandable, but in most cases, this method will be detrimental to your work as a whole. It reduces the tension from future violence, as your reader now knows that there's an easy out with no lasting consequences. There are ways to have consequence free fights (such as characters managing to create an opening and escape), but the hard knockouts don't work as well as you might hope. I'd hesitate to call knockouts, “bad writing,” but they certainly open the door to some of our worst impulses as writers. Impulses we really need to resist, as they don't lead to better stories, just more contrived scenarios.

-Starke

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[saleeba]

Arguing with Levi over something stupid and ur honestly tired of the whole thing so you just him with “Whatever you say beautiful” and he just turns his nose up and starts stumbling over his words

summary ♡ what the request says! 

pairing ♡ levi colwill x gn!reader

content ♡ fluff, attempting to settle a classic british debate, cursing, reader is so over levi 

a/n ♡ this is most probably not the argumentative scenario that anon had in mind but i fell into my silly guy tendencies >_< tysmm anon for requesting this & i hope u enjoyyyy <3<3

it’s been over forty-five minutes of the same aggravation from your boyfriend, or at least you assume so — you stopped keeping tabs a while ago, so incredibly tired of arguing with him over something so silly. sunday afternoons were supposed an agreed time for relaxation but today’s snack time was far from that after levi clocked the way you prepare your scones.

“it’s clearly jam first; you spread that shit with a knife then dollop the cream on top,” levi’s hands move maniacally, mimicking the same actions that he’s describing. “how would cream first make sense?”

“i dunno, babe. spread the cream then dollop the jam?” between brief chews of sweet cream-first scones, your words come across as way too nonchalant for the chelsea boy and a shrug from your shoulders to pair with them makes him even more incredulous. 

“that’s fucking disgusting.” 

an exasperated groan leaves your lips as you push back the stool that you’re sitting on at the island and reach your destination of the fridge, routing through tubs and packets for a refreshing bottle of orange juice.

“levi, if you don’t like it, don’t eat it.” there’s silence from levi as the sound of juice pouring into glass fills the atmosphere, and you can tell the cogs of pettiness are turning in your boyfriend’s brain. it’s the way his eyes narrow at you (you swear that if he were a cartoon character, he’d be shooting lasers at you right now) and his bottom lip juts out just the slightest, thinking about how to get one over you since he actually does want to eat the sweet treats that you had gotten up extra early to make.

“no, no, i have to show you how to do it properly, yeah?” a little point of the butter knife in his hand at you and the boy’s now giving you an unsolicited demonstration of how to layer that jam-cream combo. “so, what you do, yeah, is put the knife into the jam jar and the–”

you seriously can’t take this anymore, fearful that your eyes may get stuck in your skull if you roll them one more time.

“yeah, yeah, whatever you say, beautiful.”

and it takes just that to have your boyfriend drop the butter knife in the jam, falling over his words as he struggles to get them out and make his case. it will always be the way you say that word and more so say it to him, about him, that will run his mouth dry of anything against you.

“uh, yeah, well… look, uh–” 

a playful smirk from you has his heart squeezing in the best way. 

“are we done here, levi? because i would really like us to stop arguing over fucking jam and cream and go cuddle on the couch now.” 

you call the shots every time and levi can’t help but drop his case entirely, following you like a lovesick puppy to the sofa where you’ve taken the plate of scones along with their matching condiments, laying them out on the coffee table for him.

“show us how it’s done then, pretty boy.”

[chelledoggo]

silly concept i thought of for Pomni (that connects to my "drawing/writing characters meditating" special interest lol)

so we know how Pomni's whole thing is that she has a "funny cartoon body." like she has rubberhose arms, can do wild takes, her face changes colors when she holds her breath... all those sorts of classic "cartoon physics" tropes.

i like to think that if she enters a meditative state, she'll levitate a few feet in the air in a lotus position (think like Shirley from Tiny Toons), and she'll temporarily adopt this alternate "zen master" personality.

like she'll speak in a soft, whispery voice, with more formal speech patterns. she'll start using "spiritual" vernacular and dispense words of wisdom, almost as if she's suddenly being possessed by the spirit of a Buddhist monk. (figuratively speaking. i don't want her actually getting possessed again ;~;)

(this is old art but it basically illustrates what i'm getting at)

but then once it's over and Pomni returns to normal consciousness, she'll remember everything she said and instantly start feeling super embarrassed about it.

like i had this whole scenario in my head where Ragatha is teaching Pomni meditation to help her relax, and that's when she realizes she has this ability for the first time.

Ragatha: "huh... i guess when you enter a meditative state, you start levitating! we're learning new things about you every day, Pomni!" Pomni: [in "zen master" mode] "ahhhh... yes, Friend Ragatha... i have achieved total lightness of being... mentally, physically, and spiritually... for the first time since i've been here, i am truly at peace... ohhhhhmmmmmm..." [Jax walks up and spins Pomni around in midair, causing her to break out of the trance and fall to the floor (and then throw up)] Jax: "up and at 'em, ladies. Caine's got a dumb new adventure for us." Pomni: [back to her normal self] "ughhhh... d-did i really say all that cringe new-age crap just now?" Ragatha: [grinning] "hey, now! it wasn't 'cringe!' it was nice to see you calm for once!"

...also maybe in a later adventure she has to go "zen mode" to levitate herself out of a deep pit or something.

idk i'm just having silly thoughts lol.

[danika-redgrave124]

Umbra Witch Yuu Weapons

Lucky Vintage

Appearance: The Lucky Vintage slingshot has a classic cartoon design, with a black and white color scheme reminiscent of old-school animation. The handle is crafted from dark wood, giving it a sturdy and vintage look, while the sling is made of elastic with a classic black and white striped pattern. The slingshot’s overall design is simple yet iconic, evoking the playful yet mischievous spirit of Oswald.

Combat Style

Cartoonish Explosions: The Lucky Vintage fires explosive projectiles that not only deal significant damage but also create cartoonish effects and sounds upon impact. These projectiles cause enemies to be disoriented, adding an element of surprise and chaos to the battlefield. The explosions are accompanied by exaggerated sound effects, such as classic "boings" and "pows," enhancing the nostalgic feel of the weapon.

Retro Shot: This special ability taps into the whimsical power of vintage cartoons, allowing Bayonetta to unleash a barrage of explosive projectiles. When activated, the slingshot fires rapidly, each shot exploding with comical and exaggerated effects. Enemies caught in the blast are not only damaged but also disoriented, as the cartoonish sounds and visuals throw them off balance. Additionally, the slingshot can create a cloud of vintage cartoon smoke, a swirling black-and-white haze that obscures vision and provides cover for Yuu. This smoke enhances their stealth, making it easier for them to evade enemies or set up for a surprise attack.

Stealth and Evasion: The Lucky Vintage excels in scenarios where Yuu needs to outmaneuver their enemies. The vintage cartoon smoke creates a perfect cover, allowing them to slip away undetected or reposition herself for a strategic advantage. The smoke also confuses enemies, leaving them vulnerable to Yuu's follow-up attacks.

Tactical Versatility

Crowd Control and Disorientation: The Lucky Vintage is particularly effective against groups of enemies. The explosive projectiles can hit multiple targets at once, dealing area-of-effect damage and causing chaos among enemy ranks. The cartoonish effects disorient enemies, making it harder for them to coordinate or defend against Yuu's attacks.

Stealth and Surprise: Yuu can use the Lucky Vintage to blend in with the chaos, utilizing the cloud of vintage cartoon smoke to disappear from sight. This makes it easier for them to ambush enemies or escape dangerous situations. The weapon's playful design belies its effectiveness, making it a powerful tool in Yuu's arsenal.

Finishing Moves

Classic Capers: In a Climax attack, Yuu uses the Lucky Vintage to summon a wave of classic cartoon mayhem. The slingshot fires a giant, oversized projectile that explodes in a burst of vintage animation, complete with exaggerated visuals and sound effects. The explosion causes enemies to be thrown into a comical frenzy, bouncing around the battlefield as if caught in a cartoon. As the dust settles, Yuu emerges from the cloud of smoke, ready to finish off any remaining foes with style and flair.

Royal Baton

Appearance: The Royal Baton is designed with a vibrant yellow and pink color scheme, reflecting Daisy Duck's iconic look. The baton features intricate floral motifs along its shaft, with vines and blossoms winding around the handle. At the top of the baton is a sparkling, gem-encrusted orb that glows with magical energy. The orb emits a soft, radiant light, symbolizing Daisy's lively and elegant spirit.

Combat Style

Magical Energy and Floral Petals: The Royal Baton harnesses the power of nature and magic to create a dynamic combat style that blends offense and support. With each strike, the baton releases bursts of magical energy accompanied by a flurry of floral petals. These petals not only damage enemies but also provide healing effects to Yuu and their allies, making the baton a dual-purpose weapon.

Floral Burst: The baton’s special ability, Floral Burst, taps into its full magical potential. When activated, the baton releases a series of powerful energy bursts that radiate outward, damaging enemies in their path. These bursts are accompanied by a cascade of petals that swirl around Yuu, healing them and any nearby allies. The healing effect is instantaneous, providing a quick recovery in the heat of battle.

Field of Flowers: The Royal Baton can also summon a field of magical flowers. This field blooms around Yuu, creating a safe zone that offers various buffs and status effects. Enemies caught in the field are slowed and take continuous damage from the thorny vines that emerge from the ground, while Yuu and their allies receive increased defense, faster health regeneration, and enhanced magical abilities.

Tactical Versatility

Offense and Support: The Royal Baton excels in scenarios where Yuu needs to both attack and provide support to their allies. The combination of damaging energy bursts and healing petals makes it ideal for balancing aggressive combat with strategic healing. The field of flowers adds another layer of versatility, offering both offensive and defensive capabilities.

Area Control and Buffs: The field of flowers created by the Royal Baton is a powerful tool for controlling the battlefield. It creates a zone where Yuu can dominate, forcing enemies to either fight within the damaging area or retreat. Meanwhile, Yuu and their allies can enjoy the benefits of the buffs, turning the tide of battle in their favor.

Finishing Moves

Regal Bloom: In a Climax attack, Yuu channels the full power of the Royal Baton to create an explosion of floral energy. The baton’s orb glows brightly before releasing a massive burst of energy that engulfs the entire battlefield in vibrant, swirling petals. Enemies caught in the blast are overwhelmed by the energy, suffering massive damage as thorny vines entangle and crush them. Meanwhile, Yuu and their allies are fully healed and empowered by the burst, ready to continue the fight with renewed strength.

Shield Gauntlets

Appearance: The Shield Gauntlets are bulky and robust, designed to resemble Goofy's iconic look. They feature a green and brown color scheme, with large, round shield motifs integrated into the forearm area. The shields are decorated with subtle Goofy-themed details, such as his signature hat design and his iconic "G" emblem, embossed on the surface. The gauntlets themselves are reinforced with metallic accents, giving them a durable and protective appearance.

Combat Style

Defensive Capabilities: The Shield Gauntlets excel in providing Yuu with strong defensive options, allowing them to block and counter incoming attacks. The integrated shields are designed to absorb damage, protecting Yuu from both melee strikes and projectile attacks.

Goofy Guard: The special ability, Goofy Guard, enhances Yuu's defensive prowess. When activated, the shields project an energy barrier that amplifies Yuu's blocking capabilities, reducing damage taken from powerful attacks. Additionally, the shields can reflect incoming projectiles back at enemies, turning their own attacks against them.

Shockwave Punches: Despite their defensive nature, the Shield Gauntlets are also equipped with offensive capabilities. When Yuu lands a punch with these gauntlets, the shields generate powerful shockwaves that radiate outward, knocking back and damaging nearby enemies. These shockwaves can be charged for even more powerful strikes, creating a large area of effect that can disrupt groups of enemies.

Tactical Versatility

Defensive Strategy: The Shield Gauntlets are ideal for a defensive and strategic approach to combat. Yuu can use the shields to block incoming attacks while waiting for the perfect moment to counter with a shockwave punch. This allows them to control the pace of battle, absorbing damage and retaliating with precise, powerful strikes.

Crowd Control: The shockwaves generated by the gauntlets are particularly effective for crowd control. By knocking back enemies and creating space, Yuu can manage large groups of foes more easily, preventing them from overwhelming them. The ability to reflect projectiles also makes these gauntlets valuable against ranged enemies, turning their attacks into an advantage for Yuu.

Finishing Moves

Goofy's Justice: In a Climax attack, Yuu channels the full power of the Shield Gauntlets into a devastating combination of defense and offense. They blocks a series of incoming attacks with the shields, building up energy before unleashing a massive, double-fisted punch that creates an enormous shockwave. The shockwave knocks all enemies in the vicinity off their feet and deals significant damage, while Yuu remains protected by the shields' energy barrier.

Bow Crossbows

Appearance: The Bow Crossbows are designed with a strong emphasis on Minnie Mouse's signature style. Each crossbow features a large, red bow-shaped handle with white polka dots, reminiscent of Minnie's iconic bow. The limbs of the crossbows are adorned with similar polka dot patterns, and the entire weapon exudes a cheerful, yet formidable, energy. The bowstring glows with a soft pink light, adding a magical touch to the design. Small, star-shaped accents decorate the crossbows, enhancing their whimsical appearance.

Combat Style

Ranged Capabilities: The Bow Crossbows excel at ranged combat, allowing Yuu to strike enemies from a distance with precision and flair. The crossbows fire rapid volleys of arrows, each imbued with magical energy that creates unique effects upon impact.

Polka Dot Barrage: The special ability, Polka Dot Barrage, unleashes a flurry of arrows that create explosive bursts of red and white polka dots on impact. These bursts deal area-of-effect damage, charming and disorienting enemies caught in the blast. The charm effect briefly distracts enemies, causing them to hesitate or even fight for Yuu, allowing them to take control of the battlefield with style.

Protective Stars: Beyond their offensive capabilities, the Bow Crossbows also offer a defensive option. Yuu can create a protective field of sparkling stars that surrounds them boosting their accuracy and speed for a short duration. This star field not only enhances their combat effectiveness but also adds a layer of defense, deflecting minor projectiles and slowing down enemies who try to get too close.

Tactical Versatility

Precision Strikes: The Bow Crossbows are perfect for players who prefer a tactical, ranged approach to combat. Yuu can take out enemies from a distance with pinpoint accuracy, using the explosive effects of the arrows to control the battlefield. The charm effect adds an element of crowd control, allowing them to disrupt enemy formations and turn the tide of battle in their favor.

Speed and Agility: With the Polka Dot Barrage ability, Yuu's speed and agility are temporarily enhanced, allowing them to move quickly and evade enemy attacks while maintaining a steady barrage of arrows. The protective field of stars further enhances their mobility, making them a difficult target to hit while they gracefully maneuvers around their foes.

Finishing Moves

Minnie's Whirlwind: In a Climax attack, Yuu channels the power of the Bow Crossbows into a devastating final strike. They leaps into the air and fires a massive volley of arrows in all directions, each arrow leaving behind a trail of sparkling polka dots. As the arrows rain down, they create a dazzling display of explosions that charm and damage all enemies in the vicinity. The attack ends with a burst of stars, enveloping Yuu in a protective aura that boosts her speed and accuracy for the remainder of the battle.

Mystic Staff

Appearance: The Mystic Staff is designed to evoke Donald Duck's classic nautical outfit, featuring a sleek blue and white color scheme with golden accents. The staff is adorned with maritime details, such as rope-like engravings along the shaft and a golden anchor symbol near the grip. The top of the staff is shaped like Donald's signature sailor hat, complete with a golden star-shaped gem that glows with magical energy. The staff exudes a whimsical yet powerful aura, reflecting Donald's dual nature as both a lovable character and a formidable spellcaster.

Combat Style

Elemental Magic: The Mystic Staff is imbued with potent wind and water-based magic, allowing Yuu to unleash a variety of elemental attacks that can control the battlefield and overwhelm enemies.

Storm Surge: The special ability, Storm Surge, allows Yuu to tap into the staff's full potential, unleashing a barrage of wind and water-based attacks that mirror Donald's tempestuous personality. This ability can be used in various ways, depending on the situation:

Wind Blasts: Yuu can create powerful gusts of wind that knock back enemies, disrupting their formations and creating space for her to maneuver. The wind blasts can also deflect projectiles and send smaller enemies flying, giving her a tactical advantage.

Water Jets: The staff can summon high-pressure jets of water that slice through enemies and push them back, dealing damage and keeping foes at a distance. The water jets can be used to create barriers of water that slow down approaching enemies or extinguish fire-based attacks.

Magical Storm Cloud: The most devastating aspect of Storm Surge is the ability to summon a magical storm cloud above the battlefield. This cloud rains down lightning bolts that strike enemies with pinpoint accuracy, dealing massive damage and stunning them in place. The storm cloud can also create localized rainstorms, drenching enemies and reducing their visibility and mobility.

Tactical Versatility

Crowd Control: The Mystic Staff excels in crowd control, allowing Yuu to manage large groups of enemies with ease. The wind and water attacks can be used to keep enemies at bay, knock them down, or push them into vulnerable positions. The lightning strikes from the storm cloud can be targeted to take out key threats or disrupt enemy formations, making it a versatile tool in battle.

Environmental Manipulation: The Mystic Staff also allows Yuu to manipulate the environment to their advantage. The water jets can create slippery surfaces, causing enemies to lose their footing, while the wind blasts can blow away obstacles or debris. The rainstorms can douse flames or create muddy terrain, further complicating the battlefield for their enemies.

Finishing Moves

Tempest Fury: In a Climax attack, Yuu channels the full power of the Mystic Staff to unleash a massive elemental assault. They spins the staff in the air, creating a vortex of wind and water that pulls in enemies from all directions. As they are drawn into the vortex, the storm cloud above intensifies, unleashing a torrent of lightning bolts that strike down with devastating force. The attack concludes with a massive explosion of wind and water, scattering the remaining enemies and leaving Yuu standing in the eye of the storm, ready to continue the fight.

[afrokid]

do yuo have any things for medkit like headcanons or like scenarios looks at you with one of those cartoon rosey cheeked grins

yes i in fact do!!!! you didn't specify cg or agere so i'm doing cg cus i think he is At Least a heavy cg lean...

ah im so rusty...... apology if this isn't to your tastes friend

medkit cg headcanons⚕️

- totally encourages you playing doctor cus he's biased. will show you anatomy diagrams and tell you allll about the body n how it works!!

- he shows you how to do non-invasive procedures on your stuffies (and also how to give them shots), you'll be ready for the big stuff when you're older

- very chill in the sense that as long as you aren't causing trouble or anything, there's no need to get wound up on his part.

- he has more rules than the average cg but it's because he wants to keep you safe. as much as he's embarrassed to admit it he would probably go nuts if something happened to you.

- favorite parts of being a cg are nap/bedtime and food time. he loves to set up your food all cute and special because it makes him so happy when you get all excited about it.

- not very creative with nicknames. he probably sticks to calling you by your name but on occasion when he's feeling sappy he'll call you the classics like "kiddo"'or "little one"

[twyxted-mind]

So I saw the phrase “meat factory” somewhere and had some thoughts. Logically I know they mean like a processing/packing plant, but there’s some interesting directions your brain can take that Here’s what comes to mind with the phrase “meat factory” in order of least to most alarming:

Factory where artificially made meat is mass produced for consumers

This actually kind of sounds okay???? I mean there are absolutely going to be The Same problems and New Problems but on the scale this would be the most acceptable

Really the only problem I personally have with this is PETA might like it

Factory where a cow or pig is treadmilled to a pair of presses that instantly collide, then pull away to reveal a perfectly formed pile of steaks, sausages, etc.

Honestly more cartoonish than anything unless it happens outside of a cartoon; then it’s horror

Factory where humans are processed into meat

Reasonably terrifying for a lot of reasons, unless your name is Hannibal Lecter

Classic horror fare for a reason

Factory where things that aren’t considered edible are converted to meat

Can be more or less freaky depending on what objects you use

I swear there was a Freaky Stories short about this once

Factory where it’s a regular factory except everything’s made out of meat

Horrible. Deeply unsettling just thinking about it

Probably the worst one

If it’s like processed and cooked meat and everything’s arranged like a playset or a Level Ate type scenario it’s kind of acceptable but other than that no. Absolutely not.

Factory where it’s a regular factory except everything’s made out of meat and it’s still moving

Scratch that this one’s worse on every level

Why does it move? What makes it move? When is it going to eat you back?

It undulates rhythmically

Compellingly

You want to see more

You want to learn more

You want to join the meat factory team

Join the meat factory team

Join the meat factory team

Join the meat factory

Join the team

Join the meat

Join the meat to the factory

Join the meat to the meat to the meat to the meat to the meat to the meat to the meat to the meat to the meat

Join

[simplepotatofarmer]

C!Techno has such Looney Tunes Energy, he should have tried to escape by sticking cDream under his cape and saying "Bruh! I thought you said Dream was in here?" And then just leave as cSam and cQuackity search the cell with cDream under the cape.

it might have worked!

after prison, i think they could've gotten away with dream hiding under his cloak anytime someone came to look for him.

it's the classic 'what do you have there' scenario except that techno's cartoon logic would actually carry it, i believe this in my heart.

[trickstarbrave]

I just had the most nightmare level story scenario come to me. Like smth I would never ever want to happen to me

Picture this: you’re a teenager in a classic standard magical isekai plot line. You are sent to a magical land with powers we’ve never dreamed of and a prophecy that you will save this land from evil or whatever the bad guy of the story is.

At first you’re doing okay. You’re new to the land but the wonder at being somewhere magical and exciting keeps the dread at bay. Though eventually like all heroes you begin to suffer more and more on your journey. Healing magic exists but it hurts still to be injured and bleeding out on the floor, your body going into shock wondering if this is the end for you, and even worse you’re expected to get back up and keep fighting. You begin to miss the comforts of home: your bed, your comfy clothes, your mom’s home cooked meals, potentially indoor plumbing depending on the setting… hell, you start even missing school because at least you aren’t being constantly injured and your friends are there. Do your friends miss you? Do your parents miss you? How long exactly have you been in this world anyways? Weeks? Months? You don’t think it’s been years yet. Has your birthday already passed?

You want to go home. You hope that when you defeat the source of evil you’ll be allowed to return, but you don’t. You stay there. You start searching and searching for ways to return to your world, but every path either leads to a dead end or fails.

Eventually, you make peace with it. It’s hard. You begin to forget your best friend’s face. You try to recreate your mom’s food, and don’t get it quite right ever. You begin to doubt your own memories; is it that you can’t get the right spices, or did it taste better then because you were a different person? You certainly can’t ask your mom, and the thought makes you break down into tears again in the middle of your kitchen. You forget what you were learning in school when you were taken away, but you try to practice what you remembered for a few years just to have an excuse to feel normal and preserve whatever you can from your old world. You try to pick up drawing to draw familiar sights from your memories: your parent’s home, the front of your school, cartoon characters you liked. Plot lines from your favorite tv shows her passed down as folk tales in village to village. You had to make up a few endings as you never got to see how thr show ended, but people don’t know the difference either.

You get older. You get married. Have kids maybe. Years and years pass and everything your old world becomes a distant memory. You have known ppl in this world longer than you knew anyone back on earth. You knew your old best friend for 8 years, what seemed like forever back then, but you’ve been friends with your old adventuring party for 20 now.

And you grow old. When you take your final breath, you don’t think about the place you were born, for once in your life.

And then you open your eyes and you’re a high schooler again. You’re back on earth. It’s foreign and loud and you have to do your life. All. Over. Again. But no one will understand you because on earth, no time passed at all. No one understands you loved a whole ass life already.

[taffywabbit]

You said that furries don't necessarily have to go the fursuit route, so how anthropomorphic do you have to make it? Like, would a vaguely humanoid face and otherwise almost entirely animalistic body be ok, or is that veering out of furry territory into something else?

folks make all kinds of designs on the spectrum of "basically a human with animal ears and a tail" to "just a straight-up photorealistic cat with a bandana and sunglasses" and everything in between. personally i tend to fall somewhere in the middle, in the more traditional "cartoon animal person in a classic disney/looney tunes kinda way" range (with a bit of my own stylization applied of course, i'm just talking anatomy-wise). but you can do whatever floats your boat i guess! the people making wolf OCs and drawing warrior cats fancomics in middle school were probably some manner of furries even if they didn't have the words for it at the time, so if it works for them then it can work for you!

the biggest deciding factor in my experience is usually like... what do you want to DO with your hypothetical furry OC/fursona? what sort of applications do you have in mind when making them? for example if they don't have thumbs or can't wear pants or otherwise participate in a human-like society, then you may be limited in the scenarios they can easily be imagined in and what sorts of experiences they can relate to... but on the other hand it becomes much easier to edit them into silly animal memes or whatever, and hey, maybe you just WANT to make a funny dog who does funny dog stuff and doesn't have human responsibilities! that's a vibe for lots of people! i'm sure there are lots of benefits whichever direction you lean. also, lots of artists specialize in one type or the other (or both) and will make their preferences known, if art commissions of your character are something you end up being interested in later, so you've always got options regardless. (the keywords you wanna look for on their TOS are usually "anthro" for typical humanoid furries and "feral" for Hey That's Literally Just A Wolf But Purple, for reference.)

hope that helps!

[joshuasumter]

My latest, epic poster for "Onward II Exandria: Sir Barley and Sir Ian and The Legend of Vox Machina" (aka "Onward X Critical Role")

SYNOPSIS:

The teenage elf brothers - Ian and Barley from Disney/Pixar's 'Onward' - are back! This time, swords and sorcery just got real as they've been crossover to Exandria, the world of 'Critical Role' full of real magic, real epic adventures, real wizards, bards, and no modern technology!

Life's still full of magic and wonder for Ian and Barley Lightfoot in the city of New Mushroomton after their epic, extraordinary journey to bring back their late father. Now the Lightfoot brothers became closer together than ever and they can't wait to see what new adventures will bring as they are ready to explore a world full of wonder together.

But during another ordinary day, everything around them began to twist, turn, and swirl around them when one magical mishap led to another, and the Lightfoot brothers suddenly find themselves magically thrown into...Critical Role's Exandria, a whole other world that exists in the Material Plane full of real fantasy and beyond.

But getting back home won't be so easy as Ian and Barley. As they explore and investigate their bewildering, new surroundings while adjusting to it since they can't go back to their own world, Ian and Barley tried to play out their part and make sense of this strange new world since this may or may not be unlike anything similar to Barley's favorite historically role-playing scenario board game, Quests of Yore.

There, amidst a sea of seriousness and crazy bar fights, Ian and Barley accidentally got involved and changed the campaign of the unlikely, boisterous, ragtag crew and band of unlikely heroes, misfits, and adventurers known as Vox Machina -- twin half-elf siblings, the quick-witted Vex'ahlia "Vex" Vessar and the cunning Vax'ildan "Vax" Vessar; charming gunslinger Percival "Percy" Fredrickstein Von Musel Klossowski de Rolo III; clever cleric Pike Trickfoot; half-elf red-headed druid Keyleth of the Air Ashari; gnome bard Scanlan Shorthalt; goofy goliath barbarian Grog Strongjaw; and their giant grizzly bear, Trinket.

At first, Ian was a bit off by the wild behaviors of this rowdy group, but he and an excited Barley allow themselves to be joined by Vox Machina and chose to do what they can to help save Exandria from the evil and destruction of dark, magical forces, terrifying power couples, and even a group of not-so-friendly dragons.

Despite all the epic dangers, magical surprises, comedic fun, and even the heartwarming romance of such an epic saga in another world, will Ian and Barley ever make it back home to their own world in one piece? Or they aren't so sure anymore as their fate of being isekai'd and stranded in Exandria began to change...forever?

Then, Ian and Barley find themselves in yet another saga when they are joined by another group of criminals and misfits – The Mighty Nein adventuring party, comprised of Veth Brenatto, Caduceus Clay, Fjord, Jester Lavorre, Beauregard Lionett, Yasha Nydoorin, and Caleb Widogast.

A list of inspirations for the crossover:

Disney/Pixar's Onward

Critical Role

Critical Role's The Legend of Vox Machina and the upcoming animated Mighty Nein series

Scoobynatural

Disney Channel Original Movie, Teen Beach Movie

Teenage Mutant Ninja Turtles (2003): Fast Forward (Season 6)

Scooby-Doo! The Sword and the Scoob

The Super Mario Bros. Movie

DreamWorks' The Road to El Dorado

Jeff Smith's Bone

Dungeons & Dragons: The Cartoon, the classic TV show from the 1980s. (Including The Adventure Begins! (Dungeons & Dragons) (Little Golden Book) and Dungeons & Dragons: Saturday Morning Adventures)

Iron117Prime's Frozen Turtles

Hero Central's Ben 10 and She-Ra: Heroes of Power