#everyone else is an original character

[dexterkronos]

Oh god not another one-

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Soo... I got possessed again by The Web, so Eye Lady is once again breaking tradition, being brave, and shoving this down for all of you to witness. 

It is the perfect (in my opinion) fic for Jon lovers, Jon protectors and those who really don’t want Jonah to exist (I deleted him for you :D). I plan to update it weekly, and Chapter 2 is already written and ready for timed posting.

So ye... behold!

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Summary:

In most other universes, Mr Spider succeeds in Marking Jonathan "Jon" Sims with the power of The Web at the tender age of 8 years old.

This action would begin a spiral of circumstances that, in most cases, leads the young boy to the Magnus Institute, where one manipulative piece of work twists him into nothing more than a cosmic lynchpin for an apocalyptic ritual that may or may not come to pass.

But in this timeline, a Desolation-Huntresses, a Private Eye and an End-Beholding Sectioned Officer get in the way, burning Mr Spider, his book and his domain before the young boys' eyes.

Ever since, Jonathan Sims has done everything he can to repay the favour, training under the Desolation-Huntress, burning any Leitner he finds, and fighting off the wrath of the supernatural. He has friends to help him with his goals, and all in all, life is... manageable.

Yet on quiet nights, a question tends to resurface... one no one seems to have an answer to.

What did Mr Spider mean when it called him Little Archive? -------------------- AKA; A retrospective on the life of Leitner Hunter Jonathan "Jon" Sims, beginning from the burning of Mr Spider.

[nectarishes]

n*tflix teen coming of age series where a side character with two lines of dialogue gets expanded on in a separate novel and becomes one of the most popular ships with the main character. or something

[onebizarrekai]

basement gang activity…

[bleaksqueak]

All right, who won the bet?

Read today's page.

Read from the start

Support artists and the production of this comic

[littlemsterious]

holy fuck harrow is a product of her parent’s genocide and alecto is a product of jod’s genocide how have i never put this together before

i’m trying to spell out my thoughts about this but i cant get past how a horrific number of people had to die in order for them to exist

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[gen4grl]

messy expression sketches + colouring with my oc clem who looks alot like her dad lol

[oceanwithouthermoon]

one of my favorite (/sarcastic but not really cuz its like funny idk) things in fandoms is when people make ocs or self inserts or 'x readers' being shipped with characters, but the oc/sona/reader is literally just another character from the source material.. its like youre shipping the characters but didnt want to admit it, so you made a kinsona and branded it as something else..

and its NEVER subtle, actually its super blatant every time and im always shocked when nobody points it out..

i have seen uncountable saiki k x readers where the description is like:

"saiki meets someone whose thoughts he cant read for the first time, and even though he doesnt trust her at first, she keeps proving that she is kind and has good intentions!" you mean nendo? reader is girl nendo?

"this time, he meets a girl whose thoughts honestly match up with her spoken words almost perfectly for the first time!" hairo. youre shipping saiki with girl hairo.

"saiki meets someone whose thoughts are too fast and jumbled to re-" ITS AKECHI, THATS AKECHI, ITS LITERALLY AKECHI.

"saiki meets someone whose just as immune to teruhashi as he is for the first and only tim-" this is hairo again, awe bae you secretly LOVE haisai ?!?

"saiki sees his old childhood friend for the first time in years after an incident caused them to be apart and then they fall in lov-" WHY DID YOU EVEN WRITE THIS AND NOT CALL IT SAIKECHI.

its even funnier when they say its like that characters little sister, but the way they write it is still literally just the character, like their personality, dialogue, even their relationship, is the same..

not all of them fit this exactly, but the ones that take a boy character and turn them into a girl oc to ship them with a boy, it reminds of how in equestria girls they couldnt make applejack and rarity endgame so they gave them boyfriends who looked IDENTICAL to each other.. thats what youre creating, guys, youre creating heterosexual rarijack.

[cheecats]

The Divers won! To celebrate I'm dropping their leader and matriarch first, Captain Otodus!

Big lady! Scary and brutal, but very clever and intuitive. All her children just call her "mama." For the rest, i'll probably drop them in clumps based on their litters!

DIRECTORY:

[Captain Otodus]

[Otodus' First Litter]

[Otodus' Second Litter]

[Otodus' Third Litter]

[themesis]

[lucabyte]

this time on purrgatorio: ali and markus learn why i havent made normal pride art in years

Bonus: Ascending to Godhood lets you look at the spreadsheets

[dexterkronos]

Oh no she writes fanfictions ru-

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Soo... art isn’t my main thing. It’s actually writing, and I got possessed by The Web to bring this to you, so Eye Lady is gonna break tradition, be brave, and shove this down for all of you to witness. It is the perfect (in my opinion) fic for Martin lovers, Martin protectors and those who really don’t want Jonah to exist (I deleted him for you :D)

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Summary:

Martin Blackwood woke up with one goal in mind; make sure he gets this job.

Although the pay is not spectacular, the Magnus Institute is more than enough to keep their bills paid. An academic faction with an interest in the supernatural would surely jump at the chance to gain a 'Parapsychologist' in their ranks.

But when Martin sits in that meeting room, it's not a two-century body hopping madman before him. No, instead, he faces an even bigger threat;

A widowed father who can do a background check.

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AKA; Martin Blackwood attempts to get a job at a strangely similar yet vastly different Magnus Institute to the one you would know. The end result is a bit odd.

[favvn]

At the risk of being a contrarian (because I have browsed the tag, I've seen the complaints), The Deadly Years isn't entirely out of character for Jim Kirk. It's just that we get to see him at his worst again.

Back in season 1, the Conscience of the King shows that he will pull rank on both Spock and McCoy--the two people on the entire ship that Kirk allows himself to be closest to--to keep them out of his life and to shut down their concerns for his well-being. Kirk is not sick or inhibited by anything in this episode (other than haunted by his past). His decision to use the Enterprise to transport the acting troupe doesn't delay a mission or risk lives outside of the Enterprise, although it does inadvertently endanger one member of his crew (Lt. Riley). In other words, he acts selfishly in this episode and lashes out towards those who want to help, much like he does in The Deadly Years.

Earlier in the season, The Galileo Seven shows that Kirk will reassert his authority as captain to put off completing a mission to deliver emergency medical supplies to Makus III and aid a colony overrun by a plague because he has "standing orders" to investigate quasars. This mission is ordered by Galactic High Commissioner Ferris, which the Enterprise is transporting to oversee the supply transfer. Ferris himself later states that he outranks Kirk and can cite regulation to support his taking command of the ship to complete the mission once Kirk makes it clear he intends to take 2 full days to locate and retrieve the Galileo's crew rather than use those days to get to Makus III. This situation is interesting in that it shows how Kirk can respond negatively to those holding authority over him, especially when those same people question his decisions. Ferris is technically correct when he argues that the Galileo did not need to be launched to begin with, given how Kirk would rather trade the life of a colony for the lives of seven crew members.

I realize TOS is inconsistent about background details with how Starfleet operates owing to its standalone story structure, and this instance of "standing orders" is yet another case of that structure hindering the world building. While Kirk doesn't follow the Prime Directive even at the best of times (best of times being the absence of a cult. I'll grant him that exception), he will ignore a high galactic commissioner to follow "standing orders" all of a sudden because, at his core, Kirk doesn't want to follow orders. He's the captain. He's supposed to be the one in charge. If he's a perfectionist (his guilt at losing crew members during missions to the point of Spock having to console him, although this also comes from his survivor's guilt from Tarsus IV), it wouldn't surprise me a bit if he has control issues alongside it. In other words, for all the good Kirk tries to do and strives to do, he is still just as capable of acting selfishly and in his own best interests, and he has done so since the start of the series.

More to the point of The Deadly Years, aging is not always painless or graceful. We get to see Kirk starting to forget recent events and commands (forgetting recent events and conversations is one of the first symptoms of Alzheimer's disease) to the point that he is an active risk to the safety of the crew. Of course, he will be in denial about it, to the point of anger and deflection. It's a painful thing to reckon with, to live in a body that doesn't work like you know it should, and to have others place judgments onto you for it because they're in perfect health. Not everyone can accept that with grace. This doesn't make Kirk out-of-character. It makes him human.

[pachimation]

the evil art style thing from twt

[koobiie]

my one piece oc <3 <3 <3 her name is camille and she works at galley la

[mossypidder]

I’m so normal about them.

bonus below cut