#comics vs series

[derangedsilly]

More Panel Edits…

[the-army-brat-and-the-nerd]

Clark Kent beaming and blushing for being entitled to the cutest most adorkable nickname in comic book history

[lunarin64art]

Scollace Week Day 2: Pining(???)

Based on this

[friendlyengie]

I think one of th things with soldier is that a lot of the times ppl just put him at his Maximum Everything. Maximum idiot maximum LOUD. But the thing is hes not really at 100 all of the time. Hes a very 0 to 100 type character. In the comics at least. Like i remember rereading the first comic and just sort of being fascinated by how he Is. Chill isnt really the right word but I dont know how else to explain it.

“The heart makes its own rules” what are you saying.

Anyways i think part of soldiers whole thing is that he operates in his own world on his own rules. He will say shit so casually or matter of factly but hes not always screaming it. Sometimes hes just. Saying things. With a tone that could convince you he knows what hes saying until you register the words and realize he is saying nothing sentences to you.

[ixtaek]

Kindest reminder that aside from Sky and Wild, none of the others have even heard of the Goddess Hylia before meeting up. The goddesses they would invoke, if any, would be either Farore, Din, or Nayru.

[cocksley-and-catapult]

ISSUE 896: we are sex bob-omb

08 december 2023

[traveller-of-the-knight]

Comics Vs Series: Steven stepping in edition

Moon Knight Vol. 9 Issue 12

[gnomewithalaptop]

Okay, I'm sorry but

[bairdthereader]

Nick Asking Charlie Out: Intention

The differences between the show and the comic in the scene where Nick asks Charlie to come to Harry's party are striking and, I think, are Alice's brilliant way of adding intention into this evolving relationship in a way it hadn't existed before.

In the comic, we get a panel that shows the boys' notebooks and their hands, but not their faces, as Nick says "Are you going to Harry Greene's party on Saturday?" Though Nick is obviously deeply interested in Charlie's answer, this is still a passive inquiry; the stakes are low when the question is framed this way.

In the show, on the other hand, we first get this moment of intense, silent struggle while Nick works up the nerve to ask a real question, a question that he knows is weighty. There's a second where he checks in with himself--you can see it in his eyes (Kit is brilliant here)--where he's asking himself if he's actually going to do this.

And, yes, he decides, he is. This is easily the most nervous we've ever heard Nick to this point. The words rush out, squeezed together and slightly high-pitched: "Do you want to go to Harry's party?" This in and of itself is still not a particularly loaded question; it's the fact that Nick managed to ask it at all that lends it consequence. He thought hard about it. He knew what he really meant when he asked it. He's still incredibly, intensely confused, but he also knows he's taking a concrete step toward exploring a romantic relationship with Charlie, even if he's still completely unsure of what that really means for his own identity journey.

And Nick wants Charlie to have a clear understanding of what he's really saying, too (as is Nick's way). So then comes the bit that really scares him, but about which he's undeniably most hopeful. This is where this scene deviates most noticeably from the comics, in which Nick never specifies that he wants Charlie to go to the party with him. I love that Alice made this change, because we get to see Nick, for the first time, making an intentional decision not only to act on his attraction to Charlie (in a seemingly small but for him really quite monumental way), but also, importantly, his intention to make Charlie aware, on some level, of his changing feelings.

In the comics we get Charlie's reluctance, and then Nick's admission that he doesn't want to hang out with his own friends. Then "I have you now, so . . . so will you come?" Again, Nick is asking Charlie to attend the party, and clearly wants him to say he will, so there is some kind of intention behind his ask, but he frames it safely in the context of wanting someone there to hang out with whose company he actually enjoys.

In the show, Nick is very purposeful and decisive in the way he responds to Charlie's reluctance. "I want you to be there." This is not passively allowing closeness to happen under the guise of friendship. Yes, Nick carefully walks the line between a platonic ask and a romantic one by not actually calling it a date, but this is still a critical point for him. This is intention, purposefulness, acting toward a specific, desired outcome.

I love the panel in the comics that appears after Charlie says he'll go to the party, that it will be fun if Nick is there. It's adorable, and Nick is clearly flustered and excited that Charlie changed his mind about the party based on Nick's desire for his company.

But in the show we get This Face. ⬇️ The I can't believe I just did that face, immediately followed by the thank god he said yes face (along with a tiny little sigh of relief that he managed to say what he wanted to say). This whole interaction is basically a preview of the rest of their relationship. Nick constantly acting in a very considered, purposeful way, pushing himself and surprising himself . . . in part because Charlie promises to be there, is happy to be there . . . and Nick not believing his luck.

[Side note: Charlie's face says a lot here too. It says "I think, maybe, that might have been an actual ask out!" Then it says "But maybe not, don't get too excited." Because despite Nick's intention, Charlie's past experiences and pain--not to mention everyone around him--have been telling him there's no way Nick could mean his question in the way Charlie wants to interpret it. Charlie's uncertainty even after this interaction makes Nick's next really purposeful, intentional, purely internally motivated move--taking Charlie's hand after their first kiss--that much more important.]

[derangedsilly]

Guys there’s a bed right beside you guys why are you sleeping on the sofa guys guys guys

[the-army-brat-and-the-nerd]

He held her clutched to his heart..he was just too scared to lose her.

(insp).

[flx-res]

CHAOS - part 1

<< Previous comic

The fifth story of my show-timeline comics, set after “Butterfly Metamorphosis”. Mina Loveberry is willing to dethrone Eclipsa at any cost (decent engame villain remember?)

[dungeon-meshi-tournament]

Masterpost

[trincketbox]

[zeroducks-2]

Honestly I love the fanon families in DC but I very much acknowledge that the vast majority of it is not canon consistent. I almost feel like they’re two different universes in the way that Earth Two is different from Earth one. To me the media that supports the family feel good stuff like Wayne family Adventures is an entirely different continuity like Else world stories. They’re the same characters just written and played with in a much different way.

Wayne Family Adventure is indeed an elseworld, like the Lego DC movies or the Arkham videogames or the White Knight saga.

"canon" when it comes to DC is not a single entity because DC means many many things. Jason having been tortured by Joker and then allying with Scarecrow is canon for the Arkhamverse, but surely it isn't for the comicverse. Eobard pretending to be a scientist named Harrison Wells is canon for the CW Flash TV show, but not for the comicverse. Selina Kyle being Carmine Falcone's daughter is canon for the Batman 2022 movie, but not for the comicverse. And same goes for whatever happens in Wayne Family Adventures - the stuff in there is canon for its own context, not for the main comics canon continuity.

Now when it comes to "fanon" that's a different thing. I've seen people act like DC fanon is some sort of monolith with specific rules but it very much is not, fanon means various takes that are so widespread that people start to act as if they were canon, even if they don't come from the source material and they were born directly from the fandom. An example is Tim Drake being a coffee addict or Stephanie Brown loving pancakes. This is stuff which is either very loosely based off of canon or with no bearings with canon whatsoever, but a good chunk of the fandom acts like they were canon facts. Some folks are aware that they're not, some aren't, most don't care.

Now, the concept of Bruce Wayne being a Tired Sitcom Dad™ with all his sidekicks living in Wayne Manor like some sort of big family is a fanon concept. A few years ago people started acting like this was canon, and new people coming in would see it and also assume it was canon (Wayne Family Adventure both comes from fanon concepts and served to fuel them, because at some point people started using WFA panels as "proof" that all that actually happened). There has been and still is a pushback of people saying no, this is non-canon, stop acting like this stuff happened in the main comics continuity, but they pretty much get drowned by the mass of people who instead scream that "good dad Bruce is the only real Bruce" and that every instance of abuse or toxic behavior you show them is out of character and should be disregarded. (It is worth noting that many of these folks have actually never read DC comics, and if you suggest they do they will call you ableist and a gatekeeper when you're lucky - when you're unlucky they'll tell you to go kill yourself)

I want to add as a footnote that there are many cases (probably most cases actually) in which fanon stuff is awesome, and makes fandom experiences more enjoyable. The whole multiverse dynamic of the Undertale fandom is a fanonical masterpiece just to name one. There is a specific issue with fanon in the DC fandom in particular, but it's absolutely not the case for all fandoms - the existence of fanon dynamics is not a bad thing per se and it's a natural consequence of big fandoms existing and evolving over time. The problem with the DC fandom is that the fanon material doesn't work WITH and ALONGSIDE the canonical elements of the story. It is rather in extreme direct contradiction with the established source material, and people flat out refuse to accept that their "sunshine and rainbows" version of things isn't the real deal.

It's worth mentioning that when it comes to the Flash family we have a bit of a different situation. The abuse there is more subtle, it's less "Bruce punched Dick in the face" and more "these people are treating Barry's depression like an inconvenience". It's less "Bruce slit Jason's throat to save the life of Jason's murderer" and more "the moment Barry isn't the perfect picture of strength and happiness his family will act like he's doing it on purpose to spite them". It's way easier to dismiss because lots of people are unable to even pick up on it, and especially when it comes to Wally and Iris, 90% of the fandom does not allow them to be complex characters with dark impulses who are very capable of hurting the people they love and who love them. Wally because he's supposed to be a shining perfect hero, and Iris... well, Iris is a woman. Unfortunately most people refuse to even begin taking into consideration the idea that a woman can be a gray character, therefore women in fandom spaces are treated like either irredeemably unlikable bitches, or perfect angels who could never do anything wrong. Iris falls into the second category for nearly every single person in the Flash Fandom I've seen so far.

But anyway, I ranted enough. As I mentioned in the comments of my previous ask, I too have written fluffy "batfamily" dynamics or made Wally act sweet and protective towards Barry, but I am able to make a difference between what I like, what I'm using for my fanfiction and what actually is canon.