#everything this comic stands for i don't support

[astralnymphh]

CALLING ALL FANFICTION AUTHORS!

please reblog this. i've talked about this twice before, but obviously not everyone has seen it. i am calling for anyone who writes fanfiction or posts about a certain game/show/universe in any connective manner to please, please- PLEASE, copy this memo below comprising links to supporting palestine, education on the situation in gaza, and a must-need for those who engage in TLOU tumblr; links regarding the creators (neil druckmann) zionism, and how the plot of tlou2 is based on the israeli occupation of palestine. i don't care if what you write seems "insignificant" or "small" in the grouping of larger fics. no. everything that is not related to palestine in any form NEEDS these links. because, when we stray away from reblogging, or writing up our own posts in support of palestine/sharing journalists stories/etc. even for a SINGLE piece of writing, we could be missing people who are unaware (which, shouldn't be the case atp, but..) and fucking especially because in these fandoms, fics are the most popular thing. not reblogs about palestine, unfortunately; there are so many fanfiction accounts who very clearly don't give a fuck about the whole situation, seeping in silence, posting fics during strikes, not taking accountability for it now, so on and so forth. please, for the love of all that is good- CALL THEM OUT! people gaining hundreds of notes, tens of reblogs, supportive comments on a post that completely disregards what is happening SO BOLDLY right now, should irk you. i swear, if i see one more fuckass "i didn't know!" apology from an author who is CONSTANTLY on tumblr, REGULARLY posting fanfiction, i'm going to fucking lose it. if you are on tumblr to begin with, being this active- you have time to reblog. actually, educating yourself and reblogging is way quicker than writing up fanfiction of any length. are you fucking kidding me? you are laughable. comical, not real, and i have nay an ounce of respect for you. ever. but besdies that; the memo. i want everyone to copy this, or make something similar. put this above your summaries, authors note, whatever comes before the writing. every post you make should link back to supporting palestine, cause you never know how many eyes it will reach. it could change a lot of things. on pc, i believe copying it completely will preserve the links, but i'm not sure if mobile will. again. do whatever you can to add it. don't be lazy. put this in ur masterlists/navigation too.

for all fanfiction authors:

from the river to the sea, palestine will be free 🇵🇸

READ: this account stands with palestine, and so— i require everyone who interacts to educate themselves, and support/donate. READ THESE; 1 and 2, HELP HERE, BOYCOTT. silence is complicity, do not scroll past this.

for tlou fanfiction authors:

from the river to the sea, palestine will be free 🇵🇸

READ: this account stands with palestine, and so— i require everyone who interacts to educate themselves, and support/donate. READ THESE; 1 and 2, HELP HERE, BOYCOTT. silence is complicity, do not scroll past this.

DO NOT BUY THE REMASTER, TLOU2, TLOU1, OR ANY GAME FROM NAUGHTY DOG! neil druckmann (the creator) is a zionist. PLEASE READ THIS. AND REBLOG THIS.

you may add what is necessary, i wanted to keep it short for attention span sakes, and to avoid people skipping it entirely, and so on. i may edit these, fix up anything, but again, if you're using them you can edit them however. as long as you are linking anything in general, that is what matters. thank you, love from aestra. from the river to the sea, palestine will be free 🇵🇸

[k8lynjoy]

I genuinely want to know what show the people who say that Aang never respected Katara are watching. "Aang never let Katara feel anything other than what he wanted her to feel" "He idealized her" "He didn't care about her feelings" "He didn't support her the way she supported him". WHERE ARE YOU GETTING THIS FROM??? That's a rhetorical question because I already know what episodes/moments they're using to make those assertions (The Southern Raiders and the kiss in Ember Island Players), and even then, THEY'RE WRONG.

Let's start with TSR. This episode gets so misinterpreted it's not even funny. First off, Aang was never even upset with Katara in this episode, he's just warning her against killing someone??? He never gets mad at her or berates her. He just talks to her with a level head??? He openly acknowledges that he knows and understands how much rage and pain Katara is in, and he never tells her that she shouldn't feel it, he just advises her not to act rashly because of it??? Where is the lack of respect? Where is he ignoring her feelings or getting upset with her for not acting the way he wants her to? He lets her take Appa and even tells her that he understands that this is a journey she needs to take and supports her doing so, he just doesn't want her to kill someone. Honestly Aang shows more respect for Katara by knowing who she is as a person and not enabling her in her revenge than Zuko who is only going on this trip with her so that she'll forgive him, not because he actually cares that she's upset over the death of her mother (and this is not Zuko slander before people take it as such, I love Zuko, but it's not even subtext that his motivations in this episode are selfish and not about Katara).

As for the kiss in EIP, yes, it was not okay. Yes, it was a mistake. Yes, he shouldn't have done it after Katara laid a clear boundary, but he recognizes that immediately. After Katara- rightfully- gets upset with him, he gets upset with himself. We also see that he never repeats that mistake again and is fully okay with letting Katara lead after that. Which is why it's Katara who initiates the final kiss on the balcony. And if you still don't think he learned anything from it, he starts to ask for her consent in the comics before kissing her, showing that he absolutely DID grow from that mistake. So, we're really going to let one moment where a 12-year-old boy made a mistake dictate the entire show and negate everything that came before it??? That's coocoo banana's behavior.

I also think that those assertions are completely baseless because when does Aang idealize Katara? When does he hate her rage? When does he not support her? Is it when he laughed with her after she stole from pirates? Or in that same episode where he constantly reaffirms her skills as a waterbender- first by saying that he's able to pick it up so easily because she's a great teacher and then later when he refers to her as a waterbender which makes her so fucking happy? Is it when he gets so upset that Pakku refuses to teach Katara how to waterbend that he tries to walk away from his own waterbending training? Is it when he goes behind Pakku's back to teach her anyway? Or when he stands by actively cheering her on when she's raging against the patriarchy and fights Pakku? Is it when he calls her Sifu Katara because she expressed that he referred to Toph that way but not her? Is it when he helped her commit ecoterrorism and told her she was a hero for helping the people in that Fire Nation village? Is it when he holds her after she breaks down because she learned how to bloodbend? Is it when he comforts her after Jet's death? Is it... you get the point, don't you?

Aang recognizing Katara as someone who is strong and capable is not him idealizing her. Him not enabling her committing murder is not him hating when she feels rage. Aang actively supports Katara's rage on multiple occasions, he just doesn't enable her when he knows she's acting out of character. If you don't ship Kataang, that's fine, but please don't make up baseless accusations to try and tear them down just because you're mad that a ship that had no basis in canon (potential is not evidence) wasn't canon.

[antianakin]

I think I'm able to perhaps put a few words to why I really dislike that the Ahsoka show had her choose to come to the conclusion that Anakin was GOOD, that he was a good person and good teacher to her, rather than having her refuse to forgive him and just having to let go of him entirely.

Ahsoka is a character who has been, for her ENTIRE RUN on Star Wars, defined by Anakin and her relationship to him. She's never been able to escape that. She was created as an explanation for why Anakin "matured" over the three year gap between AOTC and ROTS, but her lack of existence in the films means she can have no greater impact on Anakin than that. She is wholly irrelevant to his character but she does not EXIST without him. In Rebels, she is only in one season where all of her appearances are fixated on her discovery of Anakin's betrayal and how that impacts her, leading up to their final confrontation where she appears to die fighting him. She comes back only so her relationship with Anakin can be used to help Ezra let go of Kanan. In TOTJ, she has an entire episode dedicated to explaining that the only reason she survived Order 66 was because of some kind of special training Anakin gave her that made her stronger, better, faster than any other Jedi. In The Mandalorian, her appearance was full of subtext about her trauma regarding Anakin and the way she reacts to other Jedi as a result of that. In The Book of Boba Fett appearance, that subtext is still there, primarily in her conversation with Luke where she even tells him how much he reminds her of Anakin. Which leaves us with the Ahsoka show itself and how it REVOLVES around that relationship, from Sabine being turned into Anakin 2.0 to everything in episode 5 to Ahsoka claiming she'll support Sabine in everything because this is what Anakin did for her to Anakin literally showing up in ghost form to Thrawn predicting everything Ahsoka will do because he has some familiarity with Anakin.

Ahsoka CANNOT escape this relationship, she cannot move out from this particular shadow and become her own person because her character seems to ONLY EXIST to be "Anakin's student." She can almost literally not stand on her own at this point. If her story doesn't revolve around Anakin in some way, it doesn't seem to really exist (please keep in mind here that I am mostly looking at HIGH CANON appearances for this because that's what I am familiar with; I'm sure that some comics have probably managed to move away from her relationship to Anakin a little bit sometimes but I haven't read any of them so they're not being counted in this analysis, especially since I don't think they're really impacting her higher canon characterization anyway).

It's even just visible in how other characters perceive her. She is constantly being COMPARED to Anakin, we keep hearing how like Anakin she is. The only time I can think of that she is compared to anyone OTHER than Anakin is when Trace and Rafa tell her that she acts like a Jedi even if she isn't currently calling herself one (bless their SOULS for this moment, they deserved so much better than the hate they got and one single appearance on fucking TBB). We never hear anyone say she reminds them of Obi-Wan, or Yoda, or Plo Koon. It's ALWAYS Anakin even though she's known Yoda and Plo Koon longer and she seems to spend almost as much time with Obi-Wan as she does Anakin.

By having Ahsoka decide to deal with her feelings about Anakin by just... setting aside all the bad shit he did and focusing ONLY on the good moments that he had and letting that define him, it makes it nearly impossible to separate her from him. If he's good, then it's a GOOD thing to compare her to him. If he's good, then his influence on her HAS to have been a good one. For me, it ruins ANY nuance that could have come from going the opposite direction and recognizing that while he had some good moments, he was in fact an overall bad person who was a terrible teacher to her. He betrayed her, he tried to kill her (and only failed because she was saved by someone else), he abandoned her. I don't care WHAT he did before this, this automatically makes him a BAD TEACHER.

And recognizing that Anakin was a bad teacher would force Ahsoka to look at HERSELF more critically, too, to recognize the places where she has made the same mistakes perhaps, where she's started leading herself down a similar path to his, and then choosing to NOT BE LIKE HIM. Anakin should be (like he is with Luke) the personification of her own darkness. Palpatine represented Anakin's greatest demons and personifications, Anakin can represent something similar for Ahsoka. He is an indisputable part of her now, but she doesn't HAVE to become him, she doesn't have to let that CONTROL her. And by making that choice, she frees herself from being defined by him for the rest of her life.

But now, the narrative has bound Ahsoka to Anakin forever. She'll never be anything more than Anakin's student because this has become what defines her as a person and a character. And it just... it sucks. Ahsoka deserved better than that.

[genericpuff]

Public service reminder: I love y'all for your support in what I do here, but (a very gentle but) I want to make it clear that this isn't the way-

Names are censored for obv privacy reasons and I don't want to put any of my own readers on blast because I trust comments like these are made with good intention. I appreciate y'all for loving what I do here and putting it out there for others to read along, but I don't do it for this. As much as Rekindled is indeed a parody redraw of LO that's trying to "fix" a lot of the original comic's issues, at the end of the day it's still just a Tumblr project that I'm doing here for fun and I don't want to see it used as ammunition in the comments sections dedicated specifically to LO (for clarification, this was in the @webtoonofficial announcement post for LO winning its third Eisner).

Whether or not it's "better" than LO is subjective and irrelevant. I obviously can't pretend like I didn't have my own motivations to "fix" what I felt was broken, but the act of "fixing" was for those of us who saw it as broken, not for those who love LO as is.

I also can't reasonably ask anyone to keep their opinions about Rekindled to themselves, it's a piece of work that is publicly available and therefore that will put it under the lens of public opinion, but from me to you, this ain't the way. I host it on Tumblr and DH precisely to keep it out of the main view of the fans/stans, because this work isn't for them, it's for all of you who share my disappointment in the original series. I want to be able to run this space free of any extreme fandom discourse - this is also why you won't see me using general LO tags on Tumblr/IG - but the only way that can happen is if we all play nice and don't let the heat of the discourse get to us. Rest assured, I will always stand by my work and what I do here because I love it and have found my lost joy in what LO used to mean to me through it as well as a community of amazing writers and creators... but prevention is better than the cure and I don't want any of that heat getting thrown back my way through weaponizing of my work with or without my knowing in the first place.

Am I pissed about the comic's third win? Absolutely. And as much as I feel it isn't worth anyone's time or energy to get into bickering matches with the stans in these comment sections, those opinions regarding the comic pre-exist my participation in this fandom and would have, one way or another, hit that boiling point regardless (and it's been wild to watch that comment section go down, I can't lie lmao) But this is not the way. Rekindled is - to me, and hopefully to you, too - a reclaiming of the love and passion people like myself used to have for LO, and a celebration of Greek myth and transformative fiction as a genre, above everything else it stands for or could be interpreted as. It's not a weapon meant to be used in discourse. Let's please do our best to be mindful of that so we can keep having fun in this special little space we've carved for ourselves and not make ourselves into the monsters we're often made out to be just for critically discussing and transforming a piece of media that, in spite of all its flaws, brought us together in the way that it did. Let's keep being the best for each other instead of turning ourselves into the worst over others within this massive fandom who we were never going to agree with in the first place.

Thank you all, much love 💖 Do no harm, take no shit ✊️

[sugar-grigri]

Let's make the revolution, but let's make it right s’il vous plaît…

Yes I need to take a break but I'm not only tired but I'm fucking autistic so let me say two quick words

I think Haruka is a character worth exploring, and that he's deeper than the comic relief he seems to be, because I think he's a very good representation of adolescence.

Yoshida doesn't live his adolescence as a public hunter, Asa almost rejects the experiences because of her social isolation and emotional problems, which implies that they are teenagers but want to carry the weight of suffering like adults.

And what is Haruka? The perfect example of the mix between childhood and coming-of-age.

Denji is unable to experience adolescence because he has been deprived of his childhood, or even his humanity, and his interactions lead inexorably to rejection and suffering.

Haruka, on the other hand, is a useful standard by which to compare the other characters' failings in exploring their own adolescence.

Haruka is portrayed as arrogant, but not as negatively pretentious, but as an over-confident teenager, following a role model to the point of pretending to be him, of having a false cable across his chest.

He's also hard on the others, representing those teenagers who never minced their words when pressing Asa's failures, just as he remains deeply human, panicking, relying on his role model to save him.

Above all, his typical teenage behavior and funny yet profoundly candid personality are at odds with what adolescence is all about: realizing the world we live in.

If Chainsaw Man is so popular with teenagers, it's first and foremost because he remains anonymous, so everyone can see what they want in his face, but he's also an element of confrontation with the established order.

When I say that Chainsaw Man is a fairly mathematical manga, it's because everything fits together perfectly: if teenagers can make Chainsaw Man an object of protest, or even make it their own design, it's precisely because they don't see Denji behind Chainsaw Man.

If everything finds its balance, it's because the teenagers see in Chainsaw Man something superior, to the point of making him a model, an ideology, while Denji, the boy behind the mask, puts himself in the position of standing outside normality.

Denji can't belong to normality, since Chainsaw Man's interest is in disrupting the established order, whether it's the dominance of demons or what parents think.

So he's in a position of literal support, since his only point of interaction is to be acclaimed without being recognized.

It's interesting that Haruka's here, because he's a Chainsaw Man fan.

Denji has been a figure in the shadows, supporting a teenager in need of guidance in spite of himself.

He was the savior of a humanity prey to demons in spite of himself

But from a more symbolic point of view, Denji is literally dismembered, because carrying this on his shoulders as a teenager, even though his rank is denied, leads not only to exhaustion and withdrawal, but also to a literal breakdown.

It's as if the chair has just cracked... then the adolescence that stood over it also collapses...

People love Denji with difficulty, while he loves them with ease

People adore Chainsaw Man and completely ignore Denji's plight

Teenagers need to see Denji, to see his state of dismemberment, to see every last part of his being instrumentalized.

Because that's what he is, an image from which everyone can pick and choose to see what's missing.

That's why Asa has a missing arm, because she's in the position of a savior who doesn't wallow in her lack and compensate for it with Chainsaw Man, but focuses on the mission of putting him back together.

We repeat: the teenagers have projected themselves into Chainsaw Man as a means of fighting against the established order.

But isn't projecting oneself and being saved by Chainsaw Man precisely what the established order is all about?

Wouldn't it be revolutionary to save a savior who has always asked to be saved? Just as the suffering of the people has been ignored has needed saving

Revolution... represented by what?

Guillotine.

And that's precisely where I find it all interesting, because Haruka effectively compensates with Chainsaw Man in everything he lacks, when he was portrayed completely panicked during the aquarium arc, Denji was serene. Haruka may have a cable on his chest, but he'll never dare pull it.

This absence of fear is what keeps Chainsaw Man a machine. Denji has no self-worth, not a little arrogance like Haruka, so he's not afraid of danger. Whereas what constitutes adolescence is precisely the fact of becoming attached, of having things you value and are not afraid of being deprived of.

Above all, being an adolescent gives you a protective status, protected by society. So Haruka experiences what Denji experienced: being deprived. Deprived of what he holds dear. Deprived of his status as a child protected to be a terrorist. Haruka is a teenager who needs to be protected, but is now seen as a terrorist, a threat to order.

To be a threat to the established order, while at the same time being guaranteed by it, is the exact ambivalence of what Chainsaw Man is, and what Haruka is experiencing, being in the shoes of his savior in an attempt to save him.

The guillotine demon has an interesting design, a huge bird as a kind of almost inanimate ornament, to emphasize its interior, a piece of skeleton hanging headless. How does it feel to be close to decapitation? We suffer in anticipation of what we're going to miss: our head, death, the skeleton, and what we're going to leave the world, a body that's missing something.

Just as others must learn to compensate for their own insecurities, Denji must allow himself to feel his own, and instead of accepting suffering, to compensate for it like a human being with his nearest and dearest, his entourage, his family.

Because the right behavior is not to artificially complete oneself by rejecting one's fear and accepting one's suffering, but to accept one's incompleteness in order to be better influenced and completed by others. That's why Denji's loved ones are there to help him, even though he's been cut into pieces. Just as the teenagers saw in Fami, whom they reject, this guillotine, both reversing the order and focusing on what they lack, poor children in identity crisis.

We're in a bit of a pre-French Revolution mood, which I like, so let's embrace it completely by concluding with a quote from one of France's bloodiest revolutionaries, Robespierre:

"First of all, you should know that I am not the defender of the people; I have never claimed that lavish title; I am one of the people, that's all I've ever been, and that's all I want to be; I despise anyone who pretends to be anything more."

To make a revolution not to overthrow the order, but to be a simple, incomplete, imperfect teenager.

[nights-at-crystarium]

DUMPS A MASSIVE STACK OF NOTES IN FRONT OF YOU OKAY SO- No I didn't just wait and hope for someone to ask about them, why'd you think that- I'll omit the details of how they grow close and what pushes them apart, but lemme dive into the broader chemistry. A fair warning for Fragments-spoilers if you wanna experience the comic's story as it unfolds.

Vivi needs An Adult, someone who'd stand up to his unruly character, ground him in reality, protect him. Raha perfectly fills this role, but so does Emet, merely with a different flavor. Vivi needs someone who experiences isolation and dehumanization on his level: being the wol is a lonely experience. He looks for an equal. He's okay with Emet's condescending attitude, his self-esteem doesn't want for coddling, and he can talk back anytime.

The Soulmate Magnet trope's fun, but on its own it's not enough for these two. Well, it obviously is for Emet, who seizes the chance to nibble on some crumbs that are left of Azem, what's dignity in face of all-consuming desperation. Vivi, however, his whole thing is showing middle finger to his destiny, the further it goes, the more allergic he gets to the "ooooohh it was meant to be this way~" bs that gets thrown at him ever so often. Emet's careful with the order and amount of information he discloses to Vivi, like expertly boiling a frog. Manipulation or not, they mutually benefit from this relationship. Emet gets his partner back, even if it's Not Him, half of Him feels pretty damn familiar, and Vivi gets a clear escape route from his destiny. Exchanging meaningful looks and knowing chuckles with you because we can tell that he embraces his overarching, ancient destiny this way, but shhhhhh, let him enjoy his hubris.

Out of the two, it's Emet who's a sad fool making a mistake that'd cost him everything. Of course this relationship has an impact on Vivi, but at least it doesn't kill him, eh- *gets kicked*

More under the cut /o/

Emet knows that he might be sabotaging himself, but he won't stop. He's infinitely more vulnerable to the Soulmate Magnet out of the two. He acknowledges that this could easily fail, that he might have to kill Vivi, but my Emet's killed so many not-azems anyway. He trades the potential pain of tomorrow for the small illusion of comfort today. As time goes on, he dares hoping again, hoping that this time might be different, goes all in with his cards, and, well, *waves vaguely* you'll see how that goes eventually.

The line between wolgraha and wolemet in Fragments is thinner than one may expect, the divergence where Vivi fully sides with Emet hinges on one human impulse. They already feel comfy enough, but Emet still hesitates to bare too much of his heart. They simply need more time together, which they can't have in canon because everyone expects Vivi to keep killing Lightwardens. The moment Vivi sees Emet's genuine smile and realizes that he wants to save him, to make him smile again and again, is when he trades entire world(s) for that. The catastrophic divergence isn't some epic scene, but a quiet click in his head. This decision still doesn't come easy, but Vivi would do it once he's sufficiently invested in Emet. The world owes him so much anyway. Time to take back what's been taken from him.

One important difference between Vivi and his Azem: what they'd do in a trolley problem. Vivi would literally burn worlds for one person dear to him, Azem would do (and actually did) the opposite, he didn't support the Zodiark plan AND left his lovers (Emet and Hyth) because he saw himself belonging to the people as a whole. This's becoming a tangent but Vivi absolutely hates his Azem when he finds out what - who - that infamous betrayal was really about.

But yeah Vivi takes Emet's side once he learns enough about him, he generally finds his company easy and pleasant. Another difference between Vivi and Azem: Vivi's incredibly nonjudgmental, embrace your cringe kinda guy. It takes time (which, again, they don't have in canon) for Emet to stop expecting to get teased at every turn, but even in the canon timeline he grows fond of Vivi, Vivi himself, not Azem, because Vivi's kind to him in a subtle, emotionally intelligent way that Azem's never been, he's casual and easygoing and dismissive, Emet's "tsun" just has no reason to activate. He expects betrayal, and it just. Never happens. (ofc it does in canon, but again, the line between canon and divergence is super thin).

Emet doesn't awaken Azem's memories in Vivi for several reasons. Vivi doesn't remember how they were back in the ancient past, but Emet does, he knows how to hold Vivi, who doesn't need much tbh, just company, just being quiet together. He acts disproportionately tired to the 3 years he's spent being the wol, and Emet, conveniently, just wants to chill with him. Funnily, Raha's regained excitement to be alive ends up being too much for Vivi sometimes, but I'm straying off the topic.

I treat their world as a real world that has literature, fiction, tropes, and Vivi tends to dream of being seduced by a villain. He thinks "enemies to lovers" is hot. He's cringe and he doesn't care. Surely this isn't the main force that drives them together, but it's worth mentioning for giggles.

Perhaps the most deliciously fucked up thing about villain!Vivi is how normal and human he'd remain, and drag Emet back up with him. He has no interest in the unsundered world, but he'd join the labor to make Emet happy. (I think I hit Vivi's chaotic neutral alignment on the head here). As long as Emet's in charge, as long as Vivi has no real pressure of responsibility, as long as he's merely a weapon (ironically, yeah), an instrument in master's hand, he doesn't mind. This pic should make more sense now.

Vivi finds someone who can save him from his destiny, break free from Hydaelyn, he never has to make another decision again if he's with Emet. His manic search for agency loops on itself, but hey, he DOES choose this, so arguably, this's more agency than he has as the wol. Even this early in the comic we can see that he simply wants to vibe, to be left alone. Just for that, Emet's actually better than Raha, if we dismiss the morals and destruction of worlds and all such nonsense.

When Emet's inevitably gone at the end of 5.0, it doesn't spell the end of their story. He lingers in the form of Vivi's obsession, questions that Vivi didn't get to ask him, agony of the Soulmate Magnet that Vivi's now aware of, Raha's bittersweet memories of him. He haunts this story forever. And ofc I'm writing an au on the side where he gets to live. It's not as enticing from the storytelling perspective because it's just "duh Emet lives and gets to be happy", but damn it heals my soul to indulge in that.

[somerandomdudelmao]

i was writing this all out in the tags of one of your recent updates (part 9 of 'donatello') when i realized i might as well just send it to you directly before i hit tag limit. (i hope you don't mind haha) this recent comic really reminded me of a concept that i've seen in your work that i haven't seen commented on a lot (though i could be wrong.)

casey jr and donatello's relationship as you've portrayed it is interesting in a number of ways. one i've been thinking about recently is the aspect of physical touch, and how you use that to represent the underlying themes/ideas behind their dynamic (and the story as a whole).

in the series, donnie is generally the least physical of his brothers, in that he prefers to be the one to initiate contact. (as a fellow autistic, i relate to this on a visceral level /lighthearted.) however, in your portrayal, this rule bends for casey's sake.

you've been setting up casey to follow in donatello's metaphorical footsteps for a while now, with this coming to fruition (to an extent) in recent storylines.

but going back a bit further. there's this major theme of... i guess i would call it 'responsibility?' that has been weaved through the story from... basically, day one.

in the first comic, his conversation with f!leo following leo's brief foray as a nugget (one of my favorite lines from this series overall is "...and leo-nugget." amazing, genuinely), casey admits to him that it was scary being responsible for someone that could get hurt so easily.

in one of the following chapters, we see the question asked: 'but who is there to save you?' (this chapter being a bit of a microcosm of the theme/story as a whole haha.)

though it was a chapter i had originally assumed was just for funsies and angst opportunities, i now realize i was wrong (though, i don't know exactly how intentional you were being with all of this, so i could be missing the mark here.) it actually sets up his arc rather nicely -- with casey being the one to save donatello when he was injured/knocked unconcious.

now, bringing this all back around to the original intent of this ask: how physical touch is used to represent their narrative dynamic (is that a thing? 'narrative dynamic'? am i just making shit up right now? whatever its fine /rehtorical)

taking everything in account, i want to return to a specific moment that really struck me in the comics leading up to donatello's death. it's the time where the resistance is being attacked, and donnie, despite being sick, goes out and uhhh... extirpates the problem (its always fun to see donnie go apeshit with dangerous weaponry /positive.)

during his dramatic reveal and attack, casey is by his side, clutching onto him not to cling, but to physically support him (at least, that's how i think that moment was supposed to be interpreted? i could be totally wrong here.)

i can't help but feel this is emblematic of the larger themes at play here-- i.e., casey's arc in relation to donatello.

i can't help but find it interesting how donatello, backbone of the resistance--

(despite his soft shell... which is why him no longer wearing his battle shell when he got sick was actually symbolic foreshadowing of-- *sound of gunshots*)

[editors note: i'm gonna stop myself right there, before this goes from ungodly long to "will break your dash and ask box if allowed to continue further"]

-- and certified plot mechanic (oh, so that's why he named it convenient plot-twist serum... finally, the mystery has been solved /joking /lighthearted), who is a very independent/self-sufficient character, allows casey jr to subvert his rules with casual touch. enough so, that when he is so weak that he can barely stand, he trusts casey jr to keep him upright.

out of everyone, he trusts casey.

casey jr, who, at the very beginning of the comic, saved donatello's life, physically carrying him back to the base. and casey jr, the one who, now, has rescued donatello from a fate worse than death, only to once again bring him back to safety.

(...can you tell i'm a little bit obsessed with your comic? lmao)

[also to note those most recent panels: a return to the "norm," with casey clinging to donatello's side, also providing a nice parallel. i know it's because he is very much reunited with his uncle who has been dead for two years, but c'mon. let me have this /joking.)]

anyway, i hope this made sense, and if you did manage to get through my pretentious (and probably somewhat far-fetched) rambles about the "symbolic narrative significance of touch" in a fanwork about the teenage mutant ninja turtles (/lighthearted), may i just say: i am in love with your work, and can only aspire to tell a story as engaging, heartfelt, and clever as the one you have woven.

you are a blessing to this fandom, and i am so excited to see where you go with this story.

I have to say that I didn't specifically do the mental planning for all of this. Most of this theme is simply because I do what I feel will be right. It's more of an intuitive desire than a prescribed plan, so it was pretty surprising to me to see this thought actually being formulated haha

Thank you:>

[yeen-meteor]

I want to take a moment to try to express why i appreciate Haru's sadism as an actual serious part of her characterization and not just a funny contrast joke and 'yay girl violence!' don't get me wrong i love me some yay girl violence for the sake of it, but like. i think there's a lot to work with there for genuine drama writing, too, not just comic relief and i want to talk about it! (cw sugimura)

for all of haru's backstory and her life with her father, sure she's rich and has a lot of privileges, but the one thing she completely lacks is any sort of control. Everything about her life is being decided for her, her father has decided on the shape of her entire future, and she can't do anything to change it - she's being raised just for the sake of being outright sold as a sex slave trophy wife to a perverted creep who is certainly too rich and powerful to ever face legal trouble for marital rape. She's going through the motions, enjoying what she can of the life she has while she still has it, completely hopeless in the face of this horrifying future that other people are forcing her into. Her will means nothing, what she wants means nothing.

And then the Phantom Thieves come along, and they give her the power to make her will matter, to fight for her own freedom and happiness. And that power comes in the shape of violence, physically fighting images of all the things and people standing in her way.

But more than that, she starts to feel 'shivers of excitement' when she hears shadows begging and pleading beneath her. She feels what it's like to have something absolutely, pathetically desperate to make her stop, to deny her what she wants - and to bask in the feeling that she doesn't have to listen, she's the strong one, she can shut them the fuck up with an axe through the skull because their will, their selfish desire, their plan for her doesn't matter anymore, her will, Haru's will matters. It's catharsis, it's intoxicating, it's a rich and indulgent feeling of real actual control and the freedom that comes with it, something she's been denied all her life, and it's probably an unhealthy way to get that feeling but who cares? these are just shadows!

And that catharsis and relief and self-assured confidence she gets from that just makes her better able to be her sweetest, kindest, purest self around the people she loves! It doesn't undermine the sweet person she is, it helps it!

And then, she makes the choice to try to cure her father's brain-rotting greed and see if there's anything worth salvaging in his heart. It might not be the best choice, it could certainly be argued about, but it's her choice, it's her will, and she finally, finally feels like she's able to make that mean something-

and Akechi takes the choice away from her, and forces her to live in the future he decided for her.

I think when people write the dynamic between Akechi and Haru, they can sometimes miss the forest for the trees - 'you killed my father', without the underlying 'this was the first time i believed i ever had a choice in my own life, and you took it away from me and fucking crushed it before my eyes'. I've also seen it done very well too, and I love it! but i think a lot of writers are sleeping on the potential a bit, of haru & akechi focused stories, or even of haru as a source of drama and an interesting supporting character in shuake stories. In general, haru's potential for anger, frustration, violent desires and just a need to feel in control of her own life has a lot of potential in drama writing!

Atlus certainly dropped the ball on the akechi and haru dynamic, and kept the sadism thing as mostly comic relief, but Persona canons are all half-realized outlines of good ideas just begging for fic writers to come and actually flesh them out, anyway, so ah well!

all i hope for is that if you're a persona writer that doesn't know what to do with haru or how to use her, or doesn't pay her much mind, maybe this might inspire you or give you a clearer idea of how to write her dramatic side!

[bluespiritshonour]

Another thing I've been muling over: a complain I've seen about Maiko is that she keeps him from going on the right path—and... I agree.

For Mai, Zuko's well-being is her sole concern and the rest of the world could crash and burn and that's... Okay?

Realistically speaking, your support system should NOT be one person. One thing I love about ATLA is that (despite romance writing not being one of it's strong points) the lack of ships that follow the tropes.

Kataang is not an archetype. Neither is Sukka or Maiko.

Having your support system be just your romantic partner isn't healthy (for them or for you) or realistic. But most romances do that and until I watched ATLA it didn't occurred to me that that's not a good thing.

ATLA and Maiko are very realistic in that Zuko needs both the Gaang and Mai. He needs the Gaang to hold him accountable for every shitty little thing he did—and he needs Mai there to keep from spiraling and self-destruction.

Zuko and his uncle were de facto conquerors, so they had to do much more to redeem themselves than Mai and Ty Lee (mere soldiers, but NOT innocent) had to.

Zuko had to work hard to earn the Gaang's forgiveness (personal opinion: he should've grovelled more and he should've been called out on his racism against Aang) and Uncle Iroh reconquered Ba Sing Se in the name of it's people.

They both did reparations to the very people they hurt. And their crimes were much more direct and vicious compared to Mai and Ty Lee’s.

As someone not as responsible as them, Mai and Ty Lee's redeeming themselves was at the Boiling Rock.

And well, when Zuko is Firelord right after the war—he would be paying for the crimes of his ancestors. He needs the Gaang there to keep from acting like he did with Katara pre-Southern Raiders (everyone else seems to have forgiven me!) and he needs Mai to keep himself from actually spiralling into self-destruction and undeserved guilt (Sozin's and Ozai's faults aren't his even if he's paying for it and someone needs to remind him that)

So, yeah. He needs them both for different things.

As for Mai, her conflict was that she was never allowed to express herself. And loving Zuko made up for that—she finally stands up for something she believes in (not in the cause, but in Zuko) and Zuko didn't even have to do anything beside exist. He didn't “fix her.”

Although, again I do have the the complain that Mai has to do a lot of emotional labour for him and if you really are gonna shit on Maiko: it's Zuko who needs to step up, not Mai—well, Mai tried to “fix him” and she couldn't!

That's so important to me!—I’m tired of girl fixes boy narrative. And she couldn't fix him because only he could fix himself and Mai herself is used to making the best out of a situation and being selfish/passive/choosing the path of least resistance. She tried to do to Zuko what worked for her (or maybe didn't, considering she was coping)—and well—later when Zuko's Firelord it'll be Mai who keeps him from harming himself.

Zuko needs both to be balanced out.

He needs multiple people to act as support system and that's both healthy and realistic. Mai isn't everything and neither should she be.

I know what the comics did; don't bring them up here. It's not about the comics.

[eightballspins]

⸝⸝ (p1h) jongseob x male reader short drabble ! fluff

thinking about how jongseob probably talks in pout when he really wants you to listen to him or do something with/for him. if he needs your attention for something, probably wants to show you something on his switch or phone, he'll start tapping your arm as the first resort and calling your name. but if you're still not looking, he puts his phone/switch down on his lap and makes his voice louder.

"look for just one second, one second," he says, making you turn around and see his lips turned into a pout and his eyes in a pretty doe shape. he picks up his phone/switch and presents the screen to you, a relaxed smile on his face as he now has all of your attention.

if you guys are in a crowded area and he wants you to look at him, the beginning method is similar to if you're alone: he just starts tugging on your clothing, hands, or anything connected to you so you can look at him. but if the area is too hectic and loud for that, he presses his face into any part of your body (whether it be your back, shoulder, arm, etc) and just puts his body weight there because you'll definitely notice a whole grown man's weight on you, duh. when you question him on his behavior, he just brushes it off as if he were acting normal. and then finally is bale to engage in conversation with you, which is what he wanted from the beginning.

( IM PUSHING THE CLINGY JONGSEOB AGENDA IDC )

"wait, where are you going? the video isn't done yet?" he questions, hand already going to your wrist to stop you from getting up from your cuddling position.

"to piss, seobie,"

"go after the video, it's only thirty more seconds," he complains, tugging your limb gently to guide you back, but you don't immediately comply. "baby, c'mon, its quick," the pout evident on his face and in his tone.

"i don't take twenty years to pee, i'll be back soon," you almost laugh at how comical the situation is, but apprently to jongseob, this is everything but funny.

another instance is when you visit the members during their break time, half an hour before they have to get back to learning their new choreo. you're catching up with everyone else, but jongseob wants some more time with you, so he begins tugging on the hem of your shirt.

your standing while he sits, his legs spread with you in between them, and they close every now and then just to tease you and hopefully make you lose your balance. but your determined in talking to keeho about whatever and he's getting more worried that the time will be up before he can properly talk to you.

"[name]," he whines, making keeho roll his eyes at the needy tone. something he was very familiar with, how often jongseob whined near/for you, and knew it was his time to give you two some semi-alone time.

"what's wrong, jongseobie?" it's a soft question you ask while sitting next time, the man immediately turning into your side and resting his head on your shoulder.

"nothing, keeho was just hogging you," he murmurs, fiddling with your hands and fingers. you smile at his affections, resting your cheek on the top of his head. "we only have five minutes to ourselves now," his infamous pout is present as he says that, making you rub his lower thigh for some sort of support.

"i'm coming over after practice though, at least we can be alone then,"

he rolls his eyes, lifting his head from your shoulder and kissing your cheek repeatedly. it seemed he wanted to make up for the past couple of wasted minutes with simple affections rather than words.

of course, you comply because why would you not.

in the corner of the practice room, you and jongseob are giggling at the chaste and quick kisses you exchange, the latter eventually pinning you down to the sofa and smothering your jaw and neck in littered kisses.

"alright, jongseob, hop off your boyfriend now, we have some more work to do," keeho calls out, his authorotative leader voice enabled and making jongseob sit up.

"i'll see you at the dorm?" he questions, kissing you once more before you can answer.

"mhm, i'll be there," he smiles wide at the response, getting off of your waist and walking over to the members with a new energy.

you pack up your things, put on your coat, and announce your departure from their practice room. jongseob is pouting as he stands with his other members, waving bye to you as the others do the same. the moment you're out of sight, jongseob immediately slouches and the members notice.

"god, it's not gonna be that bad without him here, cheer up," intak says, noticing the immediately dampen that was jongseob's mood. the youngest only groans, waving his hand to signal they continue practice.

"who knew jongseob could be so pouty," theo teases, but puts his hands up in mock surrender when jongseob tiredly glares at him.

"he too in love with his boyfriend to focus on anything else," soul joins in, making obnoxiously loud kissing noises as he eggs on the "teasing jongseob" agenda.

a minature not-serious fight breaks out before they do eventually continue on practice, the pout only leaving jongseob's face when the members do anything particularly funny.

[couldpolyamorysavethem]

REY SKYWALKER, FINN, and POE DAMERON from STAR WARS

Justification:

"Listen. LISTEN. Rey and Finn clearly love each other dearly (even if you don't ship them you can't deny their bond), Finn and Poe are super cute, and Rey and Poe have a sweet moment in the comics where they bond over their shared trauma. These three could be THEE power throuple I just know it, they'd be phenomenal together, also Rey having two boyfriends who stand by her and help her build herself up is a lot more impactful than Rey kissing the guy who keeps killing her parental figures I'm just saying. Also Finn deserves all the love and care, deserves to be treasured and cherished after everything he's been through. Also Poe needs all the support he can get and to be taken care of after it all and I think he'd be so happy with them." - @ivywing

"Clearly, Rey and Poe were both in love with Finn, and Finn loved them both back 🥺 maybe Rey wouldn't have fallen for Kylo if she had experienced a loving, stable relationship" - @fangsup-cobrastyle

[medusasea]

On Yoichi's Heroism Part 1

The narrative insists he is a brave hero, or at least that he has the right heroic philosophy, but I don't see it. Don't get me wrong, his intentions are good and he clearly is the good twin, but intentions aren't everything.

Yoichi wants great justice, but does he ever address systematic injustice? Does he ever talk about racism, corruption, quirk discrimination, quirkless discrimination, the bystander effect or the causes that turn people into villains? No.

The narrative portrays him standing up to his brother as a heroic deed, but think about it. What if Yoichi didn't have a transmission quirk, which he got by total chance? Then he would've been completely forgotten and his actions wouldn't have contributed to saving even a single person. The sole reason OFA got passed down was by pure dumb luck.

After this the next generations simply train the quirk they already had and pass it down until Midoryia gets all former quirks. How does Yoichi help then? By giving vague information about his brother and he doesn't even mention that his brother was a killer ever since he was a baby. He doesn't give any important information on the rest of the quirks, he doesn't come up with any plans nor really help come up with others. The most he does is emotional support, and even that would be a stretch to call heroic.

Even as a child, he was shown in certain scenes reading comics while his brother was killing people. Granted, he tried to change his brother for the better and there wasn't much he could do, but seriously, reading comics while people die and you call yourself righteous?

Oh, there's also the scene where all OFA users together with Deku and Tomura kill AFO, but he clearly wasn't on his own and they would've managed it without him anyway.

I've seen worse characters than Yoichi, but he is one of the most useless characters I've ever seen and the narrative gives him way too much credit.

[aingeal98]

Love and compassion are core elements of Batman but unfortunately Bruce's flaws that create conflict frequently do not come down to writers deliberately showing the battle between his love and compassion and how it can bleed over into smothering paranoia and fear of loss, or even how other traits such as his difficulties communicating effectively and his egocentric mentality can harm him. It instead comes down to the writers being conservatives and projecting their love for fascism on to Batman. And then one normal writer will come along and remind everyone that Bruce doesn't just go around snarling about wars on crime and his soldiers and being condescending to women and creates a story that would earn the tag "Bruce Wayne Has a Heart" on ao3 and then another writer is like hmm nah here he is beating his son bloody because he broke one of Bruce's rules. And then another writer is like OK what if women were evil temptresses lol wouldn't that be crazy for Batman to have to resist that like the Alpha Chad he is. And finally there comes a string of writers who hit the happy medium where they don't care about what Batman stands for they just want to write about the fun villains he fights and supporting cast he has. Who cares about Bruce Wayne, look at Batman being a detective and taking on impossible odds and winning! Look at these characters he gets to bounce off of without really reflecting anything about him other than He's Batman!

All this to say: Cassandra Wayne is the best Batman. She has that love and compassion in spades but she also doesn't have a hefty swathe of comics written by horrible people turning her narrative into propaganda for their hatred of oppressed groups with her as their main mouthpiece. (She does however suffer from it due to you know. Everything about her on paper being a conservative nightmare. Yet she's still here today with more consistent characterization than the men she was often used to prop up.) Instead, her strengths and flaws and contradictions are all tied together in a way that defines so sharply what it is to be Batman that I think all Batman writers should read Batgirl 2000. Not so that a version of Bruce written over 60 years after his debut should be their definitive Batman but so that they can look at Bruce and Cass and their interactions and be like "Woah." and then hopefully write good comics.

[celaenaeiln]

Wait, I need to know,

Has Jason ever admit liking Dick? They're considered brothers in most of the nightwing comics I've read but is it the case red hood comics?

Simple answer: yes. But it's complicated.

Red Hood and the Outlaws (2011) is the only comic where Jason explicitly talks about liking Dick.

Red Hood and the Outlaws (2016) Annual #1

Jason has looked up to Dick for a long time.

Red Hood and the Outlaws (2016) Annual #1

He also implies that Dick was a better brother than Dick thinks which isn't saying much at all.

I honestly don't believe even a single letter that's written in this comic about Jason, Artemis, Bizarro, Roy, Kori, or Dick. It's one of the worst comics I've ever read and I only got through this by sheer force of will to know everything about every character. I don't know how it's possible but absolutely no one comes out looking good in this comic.

Jason does like Dick but it's better to not use anything from this comic or reference anything from this comic.

Scott Lobdell can go suck it. Do you want to know how terrible of a writer he is and how horribly he misunderstands characters?

He said he doesn't see Superman as a beacon of hope and light. Where other characters see Superman as someone who people should strive to be, someone who does good and helps the world, Scott Lobdell says that Superman sees himself as an alien and will never think of himself as worthy because he's an alien.

Newsflash: an alien is another word used to call an immigrant.

He's literally saying that because Clark comes from another planet, he will never fit in and will always be aware of the differences between himself and other people on earth because he's an immigrant.

He actively supports racists. He had a twitter argument with Ron Marz who writes another comic called Voodoo and Ron says, "Seriously? I was under the impression I'm allowed to think racists are bad people." TO WHICH SCOTT LOBDELL REPLIES: Wow! What a stand: "Racists am bad" Why not use your writing to change hearts and minds instead of shooting fish in a barrel.

Are you for freaking real?!

Which makes perfect sense how he treats Kori and Clark given that he has sexually harassed another comic writer and made fun of their asian features. He's sexist and racist.

He's also classist because Jason's father actually loved Jason in the original comics. But in Scott Lobdell's version, a poor man is an evil, abusive man.

So not only is he sexist, racist, and classist, he also can't write! He literally has no idea the story and background and the decades of development that went behind each character he gleefully trashes.

Okay I totally deviated but point is, it's better not to use Red Hood and the Outlaws to learn about Jason. Or anyone.

The other Red Hood comics don't really talk about Jason's love for Dick but to be fair, it was written at a time when Jason hated everyone. The reason Red Hood and the Outlaws is supposed to be important is because it is supposed to tie into current events but the problem is it can't be trusted.

[ordinaryschmuck]

I have plans for a web comic. Your standard, superhero comic, written and illustrated by me and likely ONLY by me. A comic that has this premise:

"When some of the world's mightiest heroes are discovered to be dead, with more villains growing and super killers out in the world, it's up for humanity's last hope to band together as a single team for justice. Unfortunately, humanity's last hope includes a narcissist, a coward, an idiot keeps losing fights, a homeless person who wants a normal life, a super genius that's thirteen-year-old, a shape-shifting pacifist, and a recovering drunk leading them all. Will they be able to save the world? Well...They'll certainly try."

It'll have lots of stuff that makes superheroes fun. Action, comedy, heroes being human, struggling to do good for both the world and for the people in their lives, tragic backstories that show why the heroes make sure no one has as bad of a day as they did, SELECTIVE intense violence, heroes advocating for redemption over final acts of violence, and some gay characters...Alright, that last one's more or less implied in most superhero content, but why not include here, right?

I love this idea, these characters, and all the plans I have for them. The problem? On the internet, it's a shot in the dark if whether or not what you make is popular. And I don't know if my heart can take it if the first few pages of my comic go up, and only ten people see it with two of them liking it. I can't take it anymore. I've tried three times to make a webcomic, really trying to make something good and pouring everything I have into each one, only for my work to go unnoticed and unappreciated.

"Maybe they're not good."

Yeah. Maybe. Maybe my writing's not good enough to stand out. Maybe my art-style isn't appealing enough to some people. Maybe my jokes aren't funny enough. Maybe my ideas aren't interesting enough. Maybe my story's aren't profound enough. Maybe...I'M not good enough.

...But at least maybe it'll be worth another shot. Who knows, this will finally be the one to worth trying and get a lot of attention. At least, worth trying for a year and see how big the numbers are. But here's the thing: I want to make sure first. I want to know, going in, that I'll have enough people supporting me.

So, here's what I want: 1,000 notes. I don't want money, I don't want donations, I want 1,000 notes on THIS POST to tell me that my creative mind is worth creating again. If I get 1,000 notes, at any point throughout...let's say the rest of the year, then I'll do it.

I'll make another webcomic. And hopefully don't waste my life doing it.

[66sharkteeth]

I am SO sorry about that other anon good lord, who do they think they are??? You're a human being with feelings and emotions and hardships!! Or a shark I guess in your case, but my point still stands.

I, too, have been a long-time fan of your comic. CoB is my favorite webcomic and I've been loyally following and reading the updates since... end of s1?? It's been a while. BUT despite that, I know that you're still a person at the end of the day, and that sometimes you just need to get shit off your chest. It's far healthier to vent and get things off your chest than it is to bottle it up.

I haven't paid attention because I'm following like 500 different tumblrs, but may I suggest tagging your rants? That way, if people don't want to see it, they can just blacklist the tag, and you can keep getting things off your chest.

>>> Also just a reminder to everyone that YOU CURATE YOUR OWN ONLINE EXPERIENCES. The tag blocker and unfollow button is there for a reason. If you don't like what someone posts, either block the tag or just unfollow them. It's not that hard.

Sorry to that anon in that I didn’t mean to send any hate their way. I appreciate what you’re saying but I understand their point. I made this as a space for fans and I shouldn’t be using it for personal baggage. I’m just going to try to avoid using it like that from now on, so hopefully a tag won’t be necessary but I’ll make sure to do so if I do fall in that hole again. I hopefully just find a better outlet, but I just always appreciate being heard here, even if only by a few people. Even just a like on one of my posts tells me someone heard me and sometimes that’s just all I need. This was just kinda the only place I can get that since Twitter and IG would attract too much attention, and well, my private accounts… just feel like screaming into a void that just echos everything back and confirms everything I’m venting about. I’m gonna try to avoid venting here from now on and do my best to just keep it a positive fan space, but I appreciate all the support up til now whenever I’ve been having a bad night