#i have a lot of bois wow

[omaano]

After everything @insertmeaningfulusername puts him through Bug gets a summer job to collect the weird looking fish from their traps in some pretty lake, spends his days stressing out his poor elderly water-averse dog, gets some new tattoos of silly little bugs, and starts growing his hair out again QnQ

[elliewiltarwyn]

"Hey, do you...need anything?"

"...I'll...get there. But later. Time is short, we should move." "Anything you need, buddy." ...I'm proud of you.

Ellie didn't expect to grow so close with Erenville over her time in Tural, but she feels the pain of the child of a willful mother all too acutely as well.

there is an actual wip in my scrivener project that i'm on the verge of Actually Posting, after some edits - i just really need ellie to hug the bunny.

a couple extra bonus shots that i liked:

[miusato]

May I offer you two Shinjiham paintings in this trying times???

[toon-link-plush-daily]

I told him he could pick tonight’s bedtime story and he went a little overboard.

Today's Toon Link is illiterate but that does NOT mean he doesn't love stories! However maybe don't pick the creepypastas. They give him scary dreams :(

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[cerealmonster15]

[vibrating a little too fast] Do You Understand My Vision Yet

[lafilleestmorte]

I have been thinking about Q.

Falling in love with the person leaving him notes at the cafe throws him completely off balance. It's his final year of high school, his world must revolve around his art and getting into college. But he's sitting thinking about this person he has never met and how natural it feels to love them and how deep this feeling has settled into his chest and how little he knows how to deal with it.

So he leaves. He goes to university. He spends a year making friends, dating around, drinking. His art surrounds him again and if he ignores the memory of that milk frappe boy whom he left behind then he can return to the person he understands. He loathes that he is able to live with having left him behind. He draws and fools around some more. And so the year ends, and, walking into a new semester, he meets Toey.

Q's mentee is. strange. For a fine arts major, he has the most peculiar relationship to art. He doesn't have the faintest clue of the skills that, to q, are simple as breathing. Armed with blunt pencils and a conviction like none other, Toey paints beauty into the world around him

It's like I'm sitting in a vast grassy field, with a gentle breeze under a bright sky. It's like I'm watching a masterpiece of art.

Q recognizes the way he's starting to care about Toey, but he's still trying to learn how to show it. Small gestures, little invitations. Quite moments with just the two of them. He remembers the milk frappe boy and regrets what he didn't do then. But he likes the person Toey is showing him how to be.

You said I didn't take care of you at all, so I'm treating you to some desserts.

It occurs to Q all at once that Toey might just as easily slip away. Because of a love beyond his hands or someone else who gets there faster or his own lack of action. Q refuses to lose the person he loves ever again. He's never been in love with a boy. He doesn't even know if Toey has a reason to like him back. But he doesn't have the time to give thought to his feelings or his fears. He needs to run towards Toey, faster than he himself thought it possible.

So when he finds out the truth, the feeling of betrayal is difficult to describe. The love that he had kept concealed - from everyone and from himself - out on display for all of his friends. A boy who made him want to reach out and hold onto his own genuine feelings, working behind him to catch him off guard.

The boy he has been in love with loves him back. He has always loved him back.

But the person he has been becoming now feels like he might slip away. How easy it would be to let him go. How easily he had left him in pain and silence, two years ago.

[are-you-fucking-with-me-rn]

okay so I always wanted to work on a show soundtrack so here's some songs I would put in s2 because since its probably maybe not gonna happen these can be canon in my head

Stupid Cupid by Connie Francis - okay so imagine if you will. The episode starts out jarring, maybe some payneland smooching out of nowhere, makes you go back to the last episode thinking you missed a scene. But then Edwin opens his eyes, he's lying on the ground or something, and is immediately thrust into the middle of a fight scene(this is where the song starts playing). He had just been temporarily knocked out and had some dream sequence or something idk. The fight scene is in a fancy restaurant or smth and it's close to Valentine's day and it's all decorated with hearts and stuff. This song is diegetic, playing in the restaurant.

Flaws by Bastille - I'd probably put it during end credits/end of the episode. It feels very transitional to me. It's a song on the Charles playlist so of course it's gonna play after a scene with Charles heavy lore or something. Maybe Charles's dad dies, and the song starts at the beginning of the funeral scenes. Then, long after everyone's already left, Charles goes and stands in front of the gravestone and his mom is just there kneeling in the grass in front of him and doesn't know he's there and yeah. It's like, the start of Charles's Actually-finding-peace-and-confronting-trauma arc or smth.

Girls on Film by Duran Duran - good for a montage of like Crystal adjusting to having rich, showy parents. She thinks maybe if she helps them out with their big projects, which she assumes the old her didn't do, maybe they'll start seeing her and caring about her like parents should. Going to grand openings and being photographed/interviewed, being in the public sphere all the sudden. Crystal's overcompensating for being a major jerk in her past life and is now bending over backwards to be nice to everyone (which, from experience, isn't exactly healthy either)(aka she's gone the "obsess-over-being-good-enough" route that Charles's gone down)(yikes).

The Killing Moon by Echo and the Bunnymen - I honestly have no vivid images for this one. I just like the song, I think it matches the mood of the show. Maybe something about Crystal and David? A final confrontation? Cus I saw someone (I'm sorry I forgot who) say they thought it would be interesting if Crystal's powers get "contaminated" by David cus he's still buried by the tree. So like a final standoff.

Swan Upon Leda by Hozier OR Eurydice by Eugénie - I think s2 would be more about Charles' journey the way s1 was more about Edwin BUT i'm also curious about Edwin's life. Something happens where Edwin maybe ends up at his old house, or relives his memories and it's all in slow motions and more calm than Charles's in ep4. They're not all bad, but Edwin was different and outcasted and the likes. George Rexstrew said himself that he thought Swan Upon Leda described Edwin really well, but also Eurydice gives off a sort of melancholy floatiness that fits with a boy 100+ years dead reliving an upbringing that now seems to foreign to him, and yet is ingrained in every part of himself.

Since listening to music is my #1 hobby, I will probably find more songs down the line and add on, but this is what I got for now.

[crazysnakey]

Something something about the Third Doctor and the fate of Tantalus. You're trapped in one place. Everything you want, that you once took for granted is right there in front of you, you can see it you can reach for it but you can never have it. You will never attain it on your own. Your fate is dependent on the mercy or cruelty of others and you hate it and you rage against it but you can’t do anything, your defiance is treated like nothing but a childish tantrum but you refuse to beg, you won’t get that desperate no matter how long you’re trapped here, no matter how low you’re brought down. You stand among humans and you look human but you’re not, you’re an animal in a cage with them and you’re the only one who can see the bars. Gnawing and hacking at them to no avail. And yet all you can do is wait and hope and try and fail in an endless loop until an outside force interferes to free you from your prison. The carrot and the stick. How does it feel to be on the receiving end?

[clowningaroundmars]

i still cannot get over The Twins like.

imagine.

you have another version of you out there arguably living a life just as difficult as yours, if not more, that you can talk to at literally Any Time! and they're You so you basically already have half a convo down anytime you decide to pop on over via a portal

1610 and 42 stepping out of their respective portals side-by-side just to stroll out of an alleyway like nothin happened just going:

1610: LOUD SIGH

42: rough day too huh?

1610, brushing debris off of his shoulder: yeeep. another run-in with the rhino. again.

42: you didn't lock his dumb ass up like, last month? how'd he get out?

1610: don't know, don't care. so done with this week, i just wanna... i dunno. hibernate til spring 😮‍💨

42: man, what a mood.

1610: what happened to you? you look like you had a rougher day than me!

42, covered in visible bruises and cuts along with his bandages: mannnn... rougher week more like. well... rougher life. but. anyways.

they both nod at each other in Understanding

[kickbutts-singsongs]

Okay but why did they never have any holiday themed POI episodes?

More specifically, how come they never had a Halloween episode and played “Somebody’s Watching Me” by Rockwell in the background?

[dandylovesturtles]

@theplacewhereidumpmyinterests I can't talk about most of them because they're part of an AU verse I want to keep secret until I have the first fic that's part of it written, and idk when that will be (by summer?? HOPEFULLY??), but I guess I can talk about the other one because idk if/when I will write a fic for him (I'd like to but like I am only human)

"more AUs Dandy?" LISTEN all I do is sit around and think about "what if"s, okay?

ok so this started as me being like, hm, we see Lou Jitsu with a rotating door of women, so many he doesn't seem to remember all their names, so it's not totally out there to think he might have gotten one of them pregnant, right?

and thus Marcus (middle name Kyle) was born! literally!

so the story for this is, Lou Jitsu had a fling with a woman in the early 90s, pre-Big Mama. they were both in agreement that the whole thing was casual and it didn't last very long, but oopsie-daisy about six weeks after their last night together she finds out she's pregnant.

she debates what to do for a bit, because, as established, Lou Jitsu is kinda a fuckboi and she doesn't really want a relationship with him. But once she decides she's definitely keeping the baby she feels like she can't just not tell him, right? so she tries!

...unfortunately he's dating Big Mama by that point and she interferes to make sure that Lou Jitsu never meets with the woman and never finds out, because she knows this would get in the way of her plans.

she takes never hearing back from LJ as a sign he just isn't interested in the kid and resolves to single-motherhood. which she is the best at, btw.

she's still considering trying to introduce Marcus to his dad at some point, but unfortunately her kid isn't even 5 before Lou Jitsu suddenly goes missing, with his teary fiancée telling a sob story to the cops. assuming, same as everyone else, that he's dead, she lets the whole thing go, though she does tell Marcus who his dad is once he's old enough to understand everything.

Marcus goes through periods of being obsessed with Lou Jitsu, watching all his movies and consuming every piece of media about him that he can find, and periods where he can't stand to even hear the name. it's up and down. from his perspective, LJ abandoned him and his mom, but he's also dead, so it's not like he can have closure on this ever, right? so it's just a thing he has to deal with on his own.

but he's fine! he's alright. he gets through high school, then college, then accepted into vet school just fine.

then... his mom gets sick and dies.

yeah, that's a hard blow.

but he's alright! he has a few buddies from college he still sees now and then, and he's started his zoo vet residency at the Bronx Zoo (with a particularly special interest in reptiles), so lots of new people to meet that way! he's doing great! he's not lonely at all!

(a few months ago, he was suddenly woken up by a surge of something, like dozens of voices were crying out to him for help, tugging him toward something, saying his family needs him...

yeah, no idea what that was about. he doesn't have any family anymore.)

then the sky opens up and aliens come out.

Marcus is at work, because of course aliens would attack at the beginning of his shift. he spends the day ushering survivors into safe zones within the zoo, using his medical knowledge to handle first aid, and just trying to stay sane as the whole world turns upside down.

and then just as suddenly as it all started... it stops.

in the aftermath, everyone around him is just trying to get home, desperately calling their loved ones and praying for the best. Marcus starts trying to figure out how he's going to get home, because the trains definitely aren't running, and as he looks as his phone for a spark of inspiration, he realizes... no one has tried to call him. his coworkers' phones have been going off all day, whenever they can get signal, as loved ones try to reach them, but... he doesn't have anyone trying to reach him. and as he sits there he realizes he doesn't know who he should be calling, either.

so. that's pretty depressing.

and as he's sitting there, thinking about his life and what led him here, in a now empty vet clinic outside the bronx zoo... he hears a noise. and then, voices.

ah great. looters.

at first, Marcus tries to call 911 - but obviously the call center is swamped. so he decides to take care of the problem himself, going to see who's there and get rid of them...

wait, who is he kidding? he's definitely not paid enough to confront potentially armed looters! he's going to get out of here.

but just as he starts to leave, he hears the voices again - coming from one of the surgery rooms this time. and they're talking about IVs... scalpels... anesthesia...

suddenly he realizes that these aren't looters - they're here to try and treat somebody.

and like hell is he going to let some idiot kill someone trying to do DIY surgery.

so he turns back around and bursts into the room... on two humans, a rat that counts as giant even for New York, and four very big, very injured turtles.

one of whom immediately points a gun in his face. to be fair, that's what he thought would happen.

"Donnie!" yells the biggest one, and, oh, they can talk. huh.

"Relax, it's just a tranquilizer!"

"Donatello!" that's the rat. there's a sound like a whip cracking and the one with the gun makes a startled noise and drops it.

now the rat is in front of him. he's looking up at Marcus imploringly. "Do you work here?" he asks.

"Y-yeah. I'm a vet."

the rat bows very politely. "my sons are seriously hurt, and I don't have the supplies to help them at home. I understand it is a lot to ask, but... we must use your supplies. please, if you could just look the other way."

Marcus looks around at the turtles, especially the one on the table, the one worst off. he looks mangled. he won't live long if he isn't properly treated.

a rat, two humans who look like teenagers, and the turtles. who the rat called "sons". now that he's noticing, they're all pretty short, other than the big one. are they also teenagers?

"...Are any of you doctors?" he asks. the littlest one starts to raise a hand, but the girl grabs it and forces it back down.

everyone else has left by now. he's the only doctor here.

alright. guess he's doing this.

"...okay, everyone make some room. let me get sterilized, and I'll see what we're working with here."

and that's how the son Lou Jitsu didn't know he had becomes primary care doctor to his teenage mutant ninja half-brothers. ^^

(and then a bunch of other stuff happens)

[navree]

this is dc twitter discourse at the moment so i thought i'd ask your thoughts on it do you think red hood jason hurting children is ooc/a bad writing choice???

And this ladies and gents is why I avoid DC Twitter because I don't think I've seen any good takes there ever, no matter where you are. Sometimes people post panel compilations that hurt my heart, that's the like the only good thing to come out of it, I don't even click on the MAWS hashtag if it trends while the show is airing because last time I did it was people bitching that 25 year old Slade did not look or act the same way that current in his forties Slade does (not to mention, how can you complain about MAWS Slade? he's the best part about the show how did anyone not just fall over laughing with delight the second he showed up and proclaimed himself to be literal Slade Wilson?).

With that said, yeah I would consider that to be a bad writing choice. Talking about characterization for comics is hard because, as I've mentioned, comics is an incredibly decentralized creative medium in a way none others are. Movies, TV shows, novels, they all tend to have a main core group of people or even just one solitary person in charge of the creative direction, and for a lot of them, a very finite "this is where we start and this is where we end" mentality that comics do not. These characters have had constantly changing creative heads, with new directions and ideas for characterization attached, since their inception, and they've all been around for a very long time. This is why comics are kind of the only medium where you can, in fact, really pick and choose your canon, because the canon has changed so much depending on who is in charge at a giant company. Like, canonical eighties Batman characterization would be considered super OOC for someone writing canonical modern Batman, and vice versa. So talking about characterization is hard, especially with Jason when nobody has had any idea what to fucking do with him for decades at this point. But, when it comes to Red Hood Jason, there is something I consider gospel canon, which is the Under the Red Hood arc, since that is what nearly all subsequent canon imaginings of Jason take from. That is our gold standard here. And based on UTRH, yeah, Jason harming children is out of character and it is bad writing.

When Jason comes back, he has two very clear goals. Goal one: the Joker's gotta die, preferably Batman kills him so Jason gets concrete proof that he was loved and mourned (Jason is not mentally healthy so his thought process doesn't make sense just roll with it), but Jason is fine killing the man himself, so long as he dies. Goal two: essentially fulfill Batman's mission in a way where it actually accomplishes his goals. Jason outlines this pretty specifically in Batman #641, he tells Bruce "You. I'll be you. The you you're supposed to be." Jason's goal as the Red Hood is to make Gotham better (in his head), safer, and cleaner, but unlike Batman he is willing to take that goal as far as he can and will kill if necessary. What he wants is to just take Batman's mission to its logical extreme. Eradicate the various elements that have caused suffering in Gotham throughout the years, just with more permanence than Batman does, and less of a focus on rehabilitation, because you can't rehabilitate a dead person. And as part of this, Jason does not act unnecessarily. When he kills, it is people who (arguably) deserve it, and it is never innocents. It is always the criminal element, and people he believes are past the point of no return, as well as those who might be trying to stop him in that. His mission statement is literally "Death will come to those who deserve death, and death may come to those who stand in my way of doing what's right." and he means that. This is not a character you've created to then go out and harm children, because kids have not done anything to deserve it, and they are not the cause of the issues that he is trying to eliminate.

There's also the fact that Jason, even in his early Red Hood days where editorial just decided that he's a straight villain now, was never someone who went after kids, but in fact actively tried to help them. He makes it a point to tell his people that they do not sell drugs to kids and that if they do, he'll kill them (along with telling them not to get previously clean people hooked and only sell to repeats, which also paints him as someone who isn't just hurting others willy-nilly). The first person Jason ever kills, as seen in Red Hood: Lost Days, is a man who was involved in child trafficking, and he does it specifically because he wants to save those kids and future victims from him, and considers him scum of the Earth as a result (I think his name was Egan? Egon? idfk I don't reread Lost Days because I find their whole "look at fully adult Talia fucking the mentally ill sixteen year old under her care who is reliant on her for everything, how sexy" shtick abhorrent, and using Talia as their child rapist doubly so). So Jason, even at his most villainous, at his most "this is a bad dude" characterized, is someone who deliberately avoids harming innocents because it's not compatible with his mission or his personal code, and includes children very specifically in that.

It is also out of character and a bad writing choice because of Jason's own childhood. You might think a rebuttal to this is "Jason wants to kill/hurt criminals, what if kids are criminals" well guess what Jason was a kid criminal! It is actually illegal to steal parts off of people's cars, even if that person can afford it because he's Batman (to say nothing of the multiple very heavy handed hints dropped that Jason solicited as a prostitute during his time being homeless, which is also a crime, it is illegal and he would have been picked up by the cops for it if found out). Unless you want to argue that Jason thinks he himself should have been taken out with a Glock at the big of age of eleven for doing illegal things in the name of survival, you can't say that Jason's philosophy would allow him to harm children and remain in character or decently written, you just can't. Like, your other gospel for Jason's characterization should be his original Robin run from the 80s, since that's literally what introduced him to this world in the first fucking place, so duh. And there's nothing in that characterization to suggest that he would harm anyone unnecessarily, especially kids. Like, Robin Jason spares Two-Face's life, after having found out days ago that Two-Face murdered Willis Todd in cold blood; he tries to save Sheila Haywood's life after she straight up helps murder him; this isn't someone whose characterization allows for him to hurt children later in life. Especially once you factor in his struggles as a child, and how that most likely just breeds empathy for other children, especially children who are having a hard time.

Now, I can guess that some of this comes up in discussions of one of my most loathed subjects, the stupid bad stupid dumb stupid attack on fucking Titan's Tower. Now, even beyond the fact that the stupid attack on stupid Titan's Tower is less about Jason wanting to beat up children and more his specific issues with Bruce and the concept of Robin that can't be transplanted to other people, the attack itself is bad writing. It is out of character for Jason. It does not jive at all with his stated characterization and motivations that he himself outlined (also the only other closest thing to that is his fight with Mia Dearden, where he's pretty tame in just warning her to leave vigilantism and straight up beats her twice before letting her go relatively unscathed of his own free will, just saying) and it makes no sense. His issues are that the Joker is alive and Batman didn't do anything about it. Why the fuck would he care about Tim? Tim means nothing to him, he never even met the little dude, he doesn't have an issue with him. He doesn't even have an issue with the idea of Robin being passed down because Jason literally said he was perfectly content to not be Robin and just be Jason, and his problems don't arise from Robin! The issues at the heart of Jason's conflict with Bruce hinge on the Bruce and Jason relationship of father and son, not Batman and Robin! And not fucking Tim! Tim means nothing, he is a nonentity. The only reason this fuckass plot exists is because DC didn't know what to do with Jason and threw shit at the wall to see what would stick, similar to what we saw with that dumb plot with Nightwing from this time that also has similar issues, in that why would Jason care enough to cause problems for Dick, he doesn't have an issue with Dick, he legit interacts with Dick in UTRH and he's fine! (a better writing decision would have been post-UTRH Jason immediately writing the entire Batfam off and treating them as hostiles whenever they wander into Crime Alley and them having to regain his trust back/him agreeing to let down more and more barriers as time goes on and they all reconnect, but I was like seven when all this was being written so DC didn't seek my input) The fucking dumb Titan's Tower thing that people are gonna use to prove that Jason hurting kids isn't bad writing isn't even about Jason, the only reason this shit gets trotted out again and again is because Tim Drake has a lot of fans who are absolutely convinced their poor uwu baby has suffered more than Jesus when the only person in the Batfam who's suffered less than him is, like, Alfred (although I can make the argument that Alfred has still suffered more by having had to put up with Bruce Wayne almost singlehandedly for most of his adult life). It exists in people's minds even tho it is objectively bad writing and out of character for one of the main players because fanon Tim has to be the most special boy ever (and also because these people wanna use it to make Tim interesting which is impossible because nothing can make Tim interesting).

Jason hurting children deliberately is, indeed, bad writing. It is, in fact, incredibly out of character. It does not compute to his explicit motivations and how he was characterized in the stories that have since been used as a jumping off point for his characterization ever since. And ultimately, the thing is this: if Red Hood Jason is just trying to do Batman's job better than Batman, who is he doing it for if not children? Who is he trying to clean up Gotham for, make Gotham a better place for, if not her children? And if that's the case, as it obviously is, why on Earth would him then harming her children be any kind of good character writing or coherent characterization?

TL;DR, yes it is.

[blindmagdalena]

today's episode was a BIG WIN for the dadlander squad

[i-heart-2d-men]

exetober days 13-15 (jack-o-lantern, doppelganger, decay)

oops i spelt doppelganger wrong

link to prompts here

[bloodtwin]

every time someone remembers puck's eyes give people migraines an angel earns its wings.